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DRAWN 


NO  ENGRAVED  EXPRESSL 


FOR 


ARPEL’S  TYPOGRAPH,  BY  B.  B  CHAMBERLIN,  CINCINNATI. 


ENTERED  ACCORDING  TO  ACT  OF  CONGRESS,  IN  THE  YEAR  1870,  BY 


OSOAR 

IN  THE  CLERK'S  OFFICE  OF  THE  DISTRICT  COURT  OF  THE  UNITED  STATES.  FOR  THE  SOUTHERN  DISTRICT  OF  OHIO. 


Pl]EFylTOf|Y 


A  c. 


EMAFjKS. 


r\Sw 


he  abundant  supply  of  excellent  and  beautiful  typographic 
appliances  of  every  description  now  presented  to  the  choice  of 
the  Printer,  and  the  cultivated  tastes  and  often  exacting  caprices 
of  his  patrons,  render  it  not  only  comparatively  easy  but  very 
necessary  for  him  to  attain  to  excellence  in  workmanship.  If 
he  would  reap  the  rewards  of  profit  and  honor,  he  must  be  prepared  to 
meet  the  varied  demands  of  popular  patronage  with  intelligence,  taste,  and 
skill,  as  well  as  be  constantly  alert  to  the  best  practical  effeCts,  if  not  the 
extreme  possibilities,  of  his  craft. 

It  cannot  be  denied  that  refined  taste  and  elegance  in  his  productions 
give  the  printer  a  hold  upon  public  consideration  and  support  that  the 
most  laborious  and  obliging  incapacity — with  even  better  advantages  in 
other  respeCts — would  fail  to  retain  for  any  considerable  period.  It  is  from 
lack  of  ability  or  carelessness  in  arrangement  that  bungling  workmen  are 
compelled  to  accept  the  offal  of  patronage,  while  the  good  craftsman  culls 
the  best  of  it,  and  distances  his  weaker  rival  in  the  advance  to  financial 
success.  For  this  reason,  if  for  no  other,  all  engaged  in  the  business 
of  printing  should  take  advantage  of  every  avenue  leading  to  better 
information  and  practice  in  its  accomplishment,  if  they  would  reach  the 
higher  results  of  this  progressive  art. 

The  need  of  a  more  practical  hand-book  and  guide,  than  any  at  present 
available,  for  the  use  of  novices  and  unskilled  workmen,  has  led  the 
publisher  to  issue  this  volume,  in  the  belief  that  it  will  measurably  fill  the 
want  and  afford  such  learners  real  assistance.  While  this  is  the  main 
intention  of  the  publication,  it  will,  however,  aim  to  be  of  service  to 
accomplished  adepts  and  managers  of  printing  concerns, — who  hold  the 
position  of  teachers, — by  relieving  them,  to  some  extent,  of  the  annoyances 
and  vexations  so  frequently  attending  verbal  instruction  or  practical 
demonstration,  where  there  is  no  convenient  means  of  reference  at  hand 
to  illustrate  an  idea  desirable  to  be  impressed  upon  the  learner’s  mind. 

Under  the  captions: — Hints  About  Starting  an  Office;  On  Letterpress 
Composition  ;  The  Press  Room  ;  General  Business  Management  ;  and 
Closing  Notes; — will  be  found  such  information  and  suggestions  as  are 
deemed  pertinent  to  the  objects  in  view. 


P  r  e  fa  t  o  r  v  Re  m  a  r  k  s  . 

- .<> -  _ 

The  various  specimens  herein  displayed  have  been  taken,  except  in 
obvious  instances,  from  the  current  transactions  of  a  regular  printing 
office,  and  were  not  especially  designed  for  the  pages  of  the  book.  These 
specimens  are  presented  in  the  order  of  their  occurrence,  the  necessity 
to  use  the  material  in  the  type  forms — from  which  they  were  almost 
entirely  printed — preventing  the  possibility  of  systematic  arrangement. 
A  convenient  Index  will  be  found  at  the  end  of  the  book. 

The  presswork  on  nearly  all  of  the  pages  was  done  in  ordinary  course, 
by  average  workmen,  and  is  not  offered  for  critical  judgment,  further  than 
it  applies  to  general  practical  execution,  such  as  may  be  accomplished  on 
job  presses  now  in  vogue.  Quarto  and  half-medium  bed-and-platen  presses 
were  used  throughout  the  main  body  of  the  work. 

Elsewhere  will  be  found  references  to,  and  explanatory  of,  such  matters 
as  are  deemed  worthy  of  particular  mention.  Nothing,  however,  is  sought 
to  be  made  an  arbitrary  guide.  The  first  part  of  the  Book  is  condensed 
from  the  writer’s  experience  of  many  years,  and  the  samples  of  design  are 
submitted  as  a  varied  collection  of  respectable  work,  that  may  help  to 
remove  some  of  the  embarrassments  usually  experienced  by  learners  and 
teachers. 

The  expense  of  the  Typograpii  has  been  greater  than  was  at  first 
anticipated,  in  consequence  of  considerable  additions  to  the  original  plan. 
Consequently  the  prospect  of  a  future  edition  of  the  work,  except  at  an 
advanced  price,  Is  very  doubtful. 

Cordial  acknowledgements  are  due  to  those  friends  of  the  undertaking 
who  have  spoken  words  of  encouragement  from  the  start,  as  well  as  given 
more  tangible  evidences  of  their  desire  to  assist  it.  Without  particularizing, 
in  this  place,  any  who  have  extended  to  it  a  helping  hand,  the  publisher 
offers  his  sincere  thanks  to  each  and  all,  hoping  that  the  deficiencies  of  a 
first  book  will  meet  with  leniency  at  the  hands  of  those  who  may  see  proper 
to  judge  its  merits. 

In  conclusion,  the  desire  is  earnestly  expressed  that  the  Typograph 
may  aid  to  inaugurate  a  better  understanding  of  the  tasteful  utility  as  well 
as  artistic  scope  of  typography  in  the  present  day.  It  is  hoped,  moreover, 
that  a  kindly  disposition  of  emulation,  communication,  and  comparison, 
will  spread  among  the  junior  and  senior  members  of  the  honorable  craft. 
Such  a  spirit,  if  properly  maintained,  can  only  promote  the  interests  of 
all  concerned,  and  serve  to  elevate  Printing  still  higher  as  a  substantial, 
creative,  and  preservative  Art. 


P  r  c fa  t  o  r  y  It  e  m  a  r  k  s  . 
-o- 


The  various  specimens  herein  displayed  have  been  taken,  except  in 
obvious  instances,  from  the  current  transactions  of  a  regular  printing- 
office,  and  were  not  especially  designed  for  the  pages  of  the  book.  These 
specimens  are  presented  in  the  order  of  their  occurrence,  the  necessity 
to  use  the  material  in  the  type  forms — from  which  they  were  almost 
entirely  printed — preventing  the  possibility  of  systematic  arrangement. 
A  convenient  Index  will  be  found  at  the  end  of  the  book. 

The  presswork  on  nearly  all  of  the  pages  was  done  in  ordinary  course, 
by  average  workmen,  and  is  not  offered  for  critical  judgment,  further  than 
it  applies  to  general  practical  execution,  such  as  may  be  accomplished  on 
job  presses  now  in  vogue.  Quarto  and  half-medium  bed-and-platen  presses 
were  used  throughout  the  main  body  of  the  work. 

Elsewhere  will  be  found  references  to,  and  explanatory  of,  such  matters 
as  are  deemed  worthy  of  particular  mention.  Nothing,  however,  is  sought 
to  be  made  an  arbitrary  guide.  The  first  part  of  the  Book  is  condensed 
from  the  writer’s  experience  of  many  years,  and  the  samples  of  design  are 
submitted  as  a  varied  collection  of  respectable  work,  that  may  help  to 
remove  some  of  the  embarrassments  usually  experienced  by  learners  and 
teachers. 

The  expense  of  the  Typograph  has  been  greater  than  was  at  first 
anticipated,  in  consequence  of  considerable  additions  to  the  original  plan. 
Consequently  the  prospeCt  of  a  future  edition  of  the  work,  except  at  an 
advanced  price,  is  very  doubtful. 

Cordial  acknowledgements  are  due  to  those  friends  of  the  undertaking 
who  have  spoken  words  of  encouragement  from  the  start,  as  well  as  given 
more  tangible  evidences  of  their  desire  to  assist  it.  Without  particularizing, 
in  this  place,  any  who  have  extended  to  it  a  helping  hand,  the  publisher 
offers  his  sincere  thanks  to  each  and  all,  hoping  that  the  deficiencies  of  a 
first  book  will  meet  with  leniency  at  the  hands  of  those  who  may  see  proper 
to  judge  its  merits. 

In  conclusion,  the  desire  is  earnestly  expressed  that  the  Typograph 
may  aid  to  inaugurate  a  better  understanding  of  the  tasteful  utility  as  well 
as  artistic  scope  of  typography  in  the  present  day.  It  is  hoped,  moreover, 
that  a  kindly  disposition  of  emulation,  communication,  and  comparison, 
will  spread  among  the  junior  and  senior  members  of  the  honorable  craft. 
Such  a  spirit,  if  properly  maintained,  can  only  promote  the  interests  of 
all  concerned,  and  serve  to  elevate  Printing  still  higher  as  a  substantial, 
creative,  and  preservative  Art. 


(No.  1.)  BO-PEEP! 


Engraving  furnished  by  kindness  of  Francis  Hart  &  Co.  General  Printers,  6j  Cortlandt  Street,  New  York. 


Hints  About  Starting  an  Office. 


i UTS  About  Starting  At^  Office. 


Soung  printers,  as  well  as  other  people,  when  going  into  business  on 
their  own  account  for  the  first  time,  frequently  assume  that  if  they 
have  a  good  outfit,  plenty  of  assurance,  and  announce  themselves  in  strong 
terms,  patronage  and  income  will  follow  as  matters  of  course.  But  a 
majority  eventually  arrive  at  wiser  conclusions,  and  learn  from  later 
experience  that  numerous  other  essentials  are  required  to  bring  about 
success.  A  few  advisory  notes  concerning  these  matters  are  therefore  not 
considered  out  of  place  in  this  volume. 

In  commencing  the  establishment  of  a  new  interest,  if  any  one  would 
have  it  become  profitable  and  popular,  he  should  possess  strong  common 
sense,  economy,  personal  energy,  and  a  dispositon  to  please.  If  he  have 
little  or  no  experience  in  general  management,  and  steps,  as  it  were,  from 
the  position 'of  workman  to  that  of  employer,  he  can  not  exercise  too  much 
prudence  in  arranging  his  plans  for  future  procedure.  No  matter  how 
familiar  he  may  deem  himself  with  ordinary  business  routine,  or  the  uses 
of  the  various  implements  and  articles  that  comprise  a  complete  printing 
establishment,  when  he  comes  to  be  master,  and  has  to  choose,  determine, 
and  deal  for  himself,  the  chances  are  that  he  will  often  fall  into  errors  and 
admit  disadvantages  that  older  managers  have  learned  to  avoid. 

Every  one  about  to  enter  the  printing  business,  will  do  well  to  make 
a  careful  survey  of  the  proposed  field  he  would  occupy.  The  amount  and 
character  of  average  current  patronage  should  be  fairly  estimated,  and,  as 
far  as  possible,  the  ability,  facilities,  and  dispositions  of  competitors  ascer¬ 
tained,  with  a  view  to  marking  out  the  course  of  aCtion  to  be  taken- — 
leaping  at  no  hasty  conclusions  as  to  one’s  own  personal  superiority,  nor 
expecting  to  become  established  through  dishonorable  practices,  underbid¬ 
ding,  and  the  like.  Make  “  Live  and  Let  Live”  an  abiding  rule,  and  if  this 
can  not  be  sustained,  seek  for  an  opening  in  a  more  promising  quarter. 

Supposing,  however,  the  inquiries  in  regard  to  the  place  of  operation 
shall  have  proved  satisfactory,  the  next  step  will  be  to  secure  a  location 
that  is  convenient  of  access  to  neighboring  and  transient  patronage;  not 
too  expensive;  but  well  ventilated,  and  with  plenty  of  light  from  without. 
Dingy,  obscure  rooms  are  generally  adverse  to  prosperity,  and  certainly 
disagreeable  to  most  patrons  and  workmen. 

The  tendency  of  the  inexperienced  purchaser  of  printing  material  for 
a  new  office,  is  usually  toward  injudicious  and  superfluous  outfit.  With  a 


Hints  About  Starting  an  Office. 

- <  ♦  ft - 

limited  capital  at  command,  the  desire  is  generally  felt  to  expend  it  to 
the  hest  advantage;  but,  from  one  cause  or  another,  the  intention  is  often 
defeated — probably,  in  most  cases,  through  haste  or  want  of  reflection. 
Real  present  requirements  are  not  sufficiently  calculated,  nor  future  con¬ 
tingencies  considered,  and  so  the  beginner  becomes  encumbered  with 
things  not  needed  until  a  later  period,  if  at  all,  while  the  necessity  to  have 
matters  of  immediate  utility,  which  were  overlooked  while  available 
means  lasted,  compels  him  to  ask  for  credit  in  obtaining  the  deficiency. 

Mere  predilections,  theories,  and  experiments,  unless  sanctioned  bv 
aCtual  and  satisfactory  tests,  should  be  entertained  with  much  precaution 
at  the  outstart.  Carrying  out  speculative  projects  and  solving  doubtful 
enigmas  have  crippled  many  who  might  have  been  prosperous  enough 
had  they  pursued  the  beaten  path  that  was  sure  and  distinCt. 

It  is  beneficial  to  observe  local  traits,  tastes,  and  requirements  in  regard 
to  printed  matter,  and,  especially  in  large  communities,  the  methods  of 
operation  adopted  by  prosperous  and  well-managed  concerns,  whereby  to 
correCt  and  modify  one’s  own  preconceived  notions  of  business  transaction. 
But,  be  not  deceived,  while  witnessing  the  busy  performance  and  evident 
good  fortune  of  well-patronized  establishments,  into  the  belief  that  there 
is  no  end  of  patronage  to  be  had,  provided  one  can  have  sufficient  material 
and  an  office  under  one’s  control  wherein  to  become  rich!  Ah,  how  often 
do  such  thoughts  deceive!  A  confident  feeling  of  capability  and  a  supply 
of  approved  facilities  for  the  execution  of  work,  are  excellent  things  to  begin 
with;  yet  an  enduring  business  can  be  built  up  only  on  a  sure  foundation, 
little  by  little,  and  must  involve  fixed  principles  of  industry,  fair  dealing, 
painstaking,  and  close  and  systematic  attention  to  expenditure  and  income, 
whatever  natural  advantages  may  surround  it  besides.  Negligence  and 
bad  policy  will  overthrow  the  best  conceived  enterprise. 

Whether  the  work  to  be  undertaken  consist  of  newspaper,  book,  or  job 
printing,  or  a  combination  of  branches,  nothing  should  be  purchased  at 
the  start  that  is  not  absolutely  necessary  to  its  moderate  execution.  Addi¬ 
tions  may  always  be  made  as  required,  but  articles  got  for  possible  or 
prospective  utility,  are,  in  nine  cases  out  of  ten,  not  only  dead  capital  but 
greater  or  lesser  annoyances.  What  is  selected,  however,  should  be  the 
best.  Thorough  examination  of  previously  prepared  memoranda  should 
be  made,  to  ascertain  if  anything  has  been  put  down  that  should  not  be, 
or  if  indispensable  things  have  not  been  omitted.  To  buy  old,  worn,  and 
delapidated  machinery,  type,  etc.  is  a  bad  investment,  no  matter  how  small 
the  price  paid  for  them. 

An  office  should  be  purchased  with  direCt  regard  to  the  capital  at 
command,  wherewith  to  pay  for  it  immediately,  and  without  dependence 
upon  possible  trade  or  assistance,  that  may  arrive  too  late.  Embarrass¬ 
ment  arising  from  indebtedness,  as  well  as  inferior  capability,  has  caused 
much  of  the  unfair  and  suicidal  competition,  and  consequent  depression 
of  the  printing  business,  in  many  places.  Be  content  with  a  small  office 
out  of  debt,  rather  than  a  large  one  that  is  encumbered. 

—  6  — 


Hints  About  Storting  an  Office. 


We  would  recommend  plain,  neat,  and  substantial  Furniture — such  as 
cabinets,  racks,  imposing  stones,  tables,  closets,  standing  galleys,  banques, 
etc. — uniform  in  appearance,  but  made  for  use  rather  than  show.  For 
Case  Stands,  desired  without  racks,  the  lately  invented,  neat,  strong  Iron 
Bracket  Stands  are  to  be  preferred,  as  they  do  not  warp  or  get  out  of 
order  like  wooden  ones,  and  permit  the  free  passage  of  air  besides. 

Racks  for  Job  Letters  ought  to  be  strongly  and  compadtlv  built.  The 
cases  should  be  about  five-eighths  to  three-quarters  of  an  inch  apart,  and 
rest  on  strong,  hard  wood  cleats  well  fastened  to  their  places  by  screws, 
or  slotted  into  the  legs  or  ends  of  the  stand,  and  have  stout  back  stops  to 
permit  the  cases,  when  pushed  back,  to  be  on  a  line  in  front.  A  rack  will 
contain  from  four  to  eight  more  cases,  if  constructed  in  this  way,  than  it 
would  if  made  by  the  common  method,  with  wide  spaces  between  cases', 
and  the  cleats  or  rests  carelessly  nailed  on,  and  liable  to  give  way  under 
heavy  founts.  The  usual  surplus  space  of  six  or  more  inches  found  in  racks 
meant  to  serve  also  as  stands, — which  we  do  not  approve,  however, — is 
best  if  left  in  front,  as  it  will  thereby  afford  room  for  a  case  to  be  used  in 
the  rack,  when  onlj’  partially  pulled  out,  at  times  when  single  lines  are  to  be 
set  up  for  jobs  and  display  pages.  Where  this  plan  is  adopted,  the  inter¬ 
vals  between  the  cleats  should  be  closed  in  nearly  even  with  the  ends  of 
the  case,  so  as  to  prevent  it  from  slipping  out  sideways. 

Cabinets,  Racks,  Drawers,  and  other  pieces  of  office  furniture  apt  to 
become  heavy  when  filled  with  material,  if  raised  three  or  four  inches 
above  the  floor,  by  means  of  blocks,  will  enable  them  to  be  examined 
underneath  for  dropped  letters  or  dirt  that  could  not  otherwise  be  got  at. 

Cases,  whether  for  book  or  job  work,  should  be  made  of  the  best  kinds 
of  well-seasoned  wood,  that  is  not  liable  to  split  or  warp.  The  bottoms 
should  be  .smoothly  covered  with  tough  cartridge  paper,  or  such  as  is  not 
easily  affedted  by  dampness.  Those  cases  that  have  the  angles  of  the 
boxes  wired  down  firmly  with  fine  copper  wire  at  various  points,  are  stiffer 
and  more  durable  than  those  without  such  wires.  The  ledges  of  cases 
should  be  made  with  square  angles,  not  rounded,  as  some  are. 

Closets  for  Standing  Jobs,  Alive  Matter,  or  anything  in  type  that  it 
is  desirable  to  preserve  free  from  picking,  dust,  and  pi,  should  have  close- 
fitting  doors.  Such  closets  ought  always  to  be  placed  in  charge  of  a 
responsible  person,  who  will  examine  them  weekly  to  see  if  there  is  an 
undue  accumulation  of  matter  that  should  be  distributed. 

Cabinet  Drawers,  for  any  purpose,  should  have  strong  Iron  Handles, 
firmly  screwed  on,  instead  of  the  light  fancy  or  porcelain  knobs,  that  are 
liable  to  get  broken  and  pull  out. 

Strong  Boxes, — or,  better  still,  Drawers  that  cannot  be  removed, — for 
surplus  quadrates,  should  also  have  good  Iron  Handles,  as  indeed  should 
all  receptacles  that  are  to  hold  heavy  articles. 

A  Compact  Cabinet  for  Cuts,  with  suitable  strips  for  separating  the 
different  sizes,  is  a  much  better  way  to  keep  them  uninjured  than  the 
common  practice  of  piling  them  up  in  odd  corners,  or  on  shelves,  making 
it  necessarv  to  overhaul  them  frequently  to  get  at  some  needed  one,  and 

VIL _ :: _ 


"fe. 


4 


1 


4 


■i 


i 


Hints  About  Starting  an  Office. 


causing  more  or  less  injury  to  their  faces,  each  time,  from  unnecessary- 
handling. 

In  all  Carpentry  done  for  an  office,  neatness  and  comfort  should  be 
considered.  Have  no  tight-fitting  cases,  creaking  drawers,  ill-made  closets, 
rough,  projecting  corners,  rickety  joints,  or  haphazard  construction  of  any 
kind,  no  matter  how  plain  or  simple  the  work  may  be  in  other  respeCts. 

Types,  Borders,  Ornaments,  Rules,  etc.  ought  to  be  judiciously  selected 
with  a  view  to  harmonious  effeCt  in  any  kind  of  work  for  which  they  may 
be  employed.  Styles  should  he  varied  systematically,  and  a  due  propor¬ 
tion  of  the  various  sizes  of  romans,  italics,  texts,  gothics,  antiques,  bold 
and  light  faces,  scripts,  hairlines,  ornamented,  etc.,  maintained,  whether 
witli  ordinary,  condensed,  or  extended  bodies,  so  as  to  insure  elegance  of 
combination,  as  well  as  sufficient  variety,  according  to  the  tastes  of 
different  patrons.  A  large,  incongruous  collection  of  type,  bought  without 
regard  to  its  harmony  or  application,  simply  because  it  is  new,  or  strikes 
the  passing  fancy,  or  is  the  same  as  that  contained  in  other  offices,  will 
seldom  be  found  as  useful  for  general  purposes  as  a  smaller  quantity 
selected  with  direCt  reference  to  its  future  employment  and  tasteful  adapt¬ 
ability. 

The  introduction  of  many-charaCtered  and  elaborate  Combination 
Borders  causes  a  great  waste  of  time  in  printing  offices,  that  is  rarely  paid 
for  by  the  work  on  which  it  is  usually  employed.  Some  are  very  beautiful 
when  carefully  worked,  but  wear  out  quickly,  and  should  not  be  indulged 
in  to  any  great  extent  where  expedition  and  moderate  prices  are  de¬ 
manded.  It  were  better,  we  think,  if  founders,  who  seem  to  vie  with 
each  other  in  producing  such  things  as  rapidly  as  possible,  would  furnish 
any  of  the  various  combinations  such  borders  are  capable  of  forming, 
electrotyped  and  mortised,  as  they  are  needed  by  the  printer. 

In  Job  Letters  we  would  recommend  purchasing  all  the  series  of  a 
reallv  desirable  face  or  none  of  them. 

The  rivalry  of  type-makers,  at  times,  is  apt  to  cause  the  production  of 
so-called  Novelties  that  are  of  an  indifferent  character.  Although  new, 
thev  have  often  nothing  to  commend  them  besides  oddity  or  incompleteness 
of  design — are  generally  evanescent  as  to  utility,  and  seldom  profitable  to 
persons  unwary  enough  to  expend  money  for  them.  When  such  things 
appear,  they  should  be  persistently  refused,  which  would  soon  make  them 
scarce.  Almost  every  printing  establishment  of  long  standing,  that  does 
much  mixed  work,  has  a  number  of  founts  of  type,  ornaments,  etc.  that 
have  been  discarded  as  unpopular,  difficult  to  work  clearly,  or  are  clumsy, 
and  otherwise  nearly  useless,  although  but  little  worn;  while  others,  that 
were  elegant  and  attractive  at  first,  have  never  ceased  to  be  in  request. 
One  often  wonders,  in  glancing  over  samples  of  past  work,  how  such  and 
such  styles  of  type  could  ever  have  been  thought  handsome  or  appropriate, 
or  even  admitted  among  the  adjunCts  of  an  office  at  all.  If  it  is  true  that 

“A  thing  of  beauty  is  a  joy  forever,” 

then  it  is  proper  to  deliberate  somewhat  before  ordering  any  and  every - 

—  S  — 


Hints  About  Starting  an  Office. 


thing  that  appears,  simply  because  it  may  please  the  fancy  momentarih  . 
but  which  will  not  prove  useful  enough  to  pay  for  its  cost.  Let  us  have 
fewer  of  these  unprofitable  temptations  say  we. 

Uniformity  of  Body  in  the  various  founts  of  letters  used  in  an  office 
having  the  same  names — such  as  long  primer,  pica,  great  primer,  etc. — 
should  be  maintained  as  nearly  as  possible.  It  is  a  bad  thing  to  have  two 
or  three  bodies  of  pica,  for  example,  that  vary  enough  to  affedt  the  appear¬ 
ance  of  work  when  the  quadrates  and  spaces  are  used  indiscriminately. 
The  lack  of  a  proper  understanding  among  founders  of  different  sections 
in  this  particular,  has  rendered  the  possession  of  type  made  by  all  of  them, 
rather  a  drawback  than  an  advantage. 

Every  Case  in  a  printing  office  should  be  neatly  and  distinctly  Labeled 
with  a  line  or  two  of  the  type  it  contains,  set  up  for  that  purpose,  and 
accompanied  with  its  foundry  name.  Tough,  well-calendered  paper, 
either  white  or  light  yellow,  if  used  for  such  labels,  will  last  a  long  time. 

In  arranging  letters  in  cases,  care  should  be  taken  that  those  of 
approximate  sizes  placed  near  to  each  other  shall  have  their  Nicks  so 
different  that  there  will  be  no  liability  of  one  being  taken  for  another  in 
correcting  or  distributing. 

Labor-Saving  Rules,  accurately  cut  to  eras  of  pica,  and  Brass  Leaders 
to  line  with  the  various  bodies  of  Scripts  and  Italics,  are  costly,  but,  we 
think,  amply  repay  their  cost  in  convenience  and  saving  of  time.  In 
very  particular  work,  however,  we  prefer  single  lengths  of  rule,  as  it  is 
not  always  possible  to  join  pieces  so  as  to  prevent  the  point  of  their 
coming  together  from  being  noticed,  especially  on  card  and  tabular  work. 

Leads  and  Slugs  made  to  various  type  bodies  should  be  plentifully 
supplied  to  an  office.  If  they  are  cut  to  various  lengths  of  ems  and  ens 
of  pica,  as  is  now  pretty  generally  the  case,  they  render  the  waste  of  time 
and  metal,  in  chipping  them  at  the  cutting  bench — an  abominable  prac¬ 
tice — inexcusable. 

Metal  Furniture  and  Quotations,  cast  in  accurate  moulds,  are  always 
desirable,  and  save  much  labor  and  many  quadrates  in  doing  blank  work, 
imposing  forms,  etc. 

Where  Economy  in  Case  Room  is  requisite,  instead  of  the  bad  custom 
of  putting  two  small  founts  of  different  faces  together,  it  is  better  to  use 
large  upper  cases,  and  divide  the  boxes  diagonally  by  means  of  high 
(stereotypers’)  leads,  four  to  pica  in  thickness.  These  leads  should  be  fitted 
tightly  to  prevent  them  from  lifting  when  the  case  is  moved  about  or  jolted 
suddenly,  thereby  letting  the  contents  of  different  compartments  get  mixed. 

A  convenient  size  for  Imposing  Stones  is  about  three  feet  three  inches 
by  five  feet  three  inches.  They  should  be  elevated  about  three  feet  four  or 
five  inches  above  the  floor.  The  slab  or  stone  should  be  hard,  close  grained, 
elastic,  not  apt  to  chip,  smoothly  polished,  and  perfectly  level  on  the  work¬ 
ing  surface.  White  Italian  marble,  and  some  kinds  of  slate,  make  good 
stones.  Have  them  from  one  and  three-quarters  to  two  and  one-half 
inches  thick,  and  laid  in  a  bed  of  sawdust  or  gypsum,  to  prevent  springing 
1 1 


—  9  — 


or  cracking  at  the  weaker  parts.  The  box  that  is  to  contain  the  sawdust 
or  other  bedding  should  be  made  with  tightly  matched  lumber,  and  about 
three-quarters  of  an  inch  deeper  than  the  thickness  of  the  stone.  An 
imposing  stone  well  set  up,  will  be  firm,  and  so  level  as  to  allow  single 
lines  of  letters  to  stand  on  their  feet  anywhere  upon  its  surface.  Iron 
Imposing  Tables  we  do  not  consider  good,  on  account  of  their  tendencj' 
to  rust  and  wear  the  bottoms  of  type  faster  than  stone. 

The  Frame  of  the  Stone  should  be  strongly  constructed  of  well- 
seasoned  and  rather  hard  wood.  Drawers  for  lock-up  furniture,  mallets, 
planers,  shooting-sticks,  quoins,  etc.  should  not  come  out  square  to  the 
sides  and  ends,  lower  than  a  couple  of  feet  above  the  floor,  as  below  that 
there  should  be  leg-room  for  persons  working  at  the  stone  for  any  extended 
period,  as  in  imposing,  correcting,  etc.  If  the  drawers  are  inserted  length¬ 
wise,  or  into  the  narrow  ends  of  the  stone  frame,  there  will  be  plenty  of 
room  for  a  Chase  Hole  eighteen  inches  wide,  at  the  centre.  (See  diagram 
in  another  part  of  the  book.) 

The  best  Composing  Sticks  are  made  of  steel,  and  are  smoothly 
polished,  as  well  as  strong,  light,  perfectly  true  from  top  to  bottom,  and 
without  any  “give”  or  spring  at  the  slide.  We  have  examined  a  very 
excellent  kind  made  with  a  brace  firmly  secured  to,  and  extending  from, 
the  top  of  the  sliding  bar  to  the  bottom  part  of  the  stick,  where  it  fits 
squarely,  yet  is  so  contrived  as  to  be  entirely  out  of  the  way  of  the  hand, 
and  adds  but  little  to  the  weight  to  be  sustained  while  composing.  Few 
of  the  ordinary  sticks,  adjusted  by  means  of  a  common  clasp,  are  to  be 
depended  upon  for  particular  work  when  they  are  worn  in  any  degree,  and 
seldom  hold  as  firmly  as  the  nut  and  screw;  although  the  latter  is  by  no 
means  the  most  convenient  form  of  fastening.  Those  secured,  when  set  to 
a  measure,  by  means  of  a  groove  and  lever  arrangement,  we  consider  good. 


An  obvious  fault  that  exists  in  most  of  the  composing  sticks  used  in 
this  country,  is,  that  they  are  too  deep  from  top  to  bottom  by  one  to 
two  ems  of  pica.  The  longer  ones,  when  made  of  metal,  are  tiresome  and 
unwieldy  while  being  filled  with  solid  matter.  Although  the  workman 
may  empty  them  before  they  are  full,  if  he  wishes,  yet  it  would  be  better, 
we  think,  if  they  were  made  less  deep  when  more  than  eight  inches  in 
length.  Procure  close-grained  Mahogany  Composing  Sticks  for  long 
measures. 

A  simple  but  well -constructed  Mitreing  Machine,  that  will  cut  rules 
and  leads  perfectly  true  to  any  required  angle,  is  certainly  a  necessity  to 
every  employer  who  wishes  to  do  exaCt  work,  as  well  as  to  economize  in 
the  time  consumed  therein. 


The  old-fashioned  Wood  Quoins,  although  rather  rude  when  compared 
with  some  excellent  mechanical  ones  that  have  been  introduced  recently, 
must  still  be  used  for  a  long  time  in  many  places.  They  should  be  made 
of  dog-,  live-oak-,  box-,  or  iron-wood,  and  have  their  beveled  sides  to 
correspond  exaCtly  to  the  furniture  with  which  they  are  to  lock  up.  For 
very  narrow  lock-ups,  Iron  Side  and  Foot  Sticks  are  decidedly  better 

—  io  — 


than  wooden  ones,  as  they  will  not  yield  so  readily  when  the  quoins  are 
driven  entirely  home. 

Wood  Furniture  is  convenient  to  close  in  and  lighten  forms  that  are 
to  be  locked  up  for  ordinary  presswork  requiring  no  register;  but  if  the 
latter  is  necessary,  it  should  not  be  used  to  any  extent,  as  it  will  swell 
when  wet.  Metal  Furniture  is  always  best  for  exadt  registers.  For  poster 
or  other  common  work  requiring  a  great  deal  of  wood  furniture,  it  is 
advisable  to  have  the  whole  of  it,  including  reglets  and  side-sticks,  cut  to 
ems  of  pica,  and  marked  with  figures  struck  into  the  squared  ends  to 
indicate  the  length  and  width  of  each  piece. 

Shooting  Sticks  made  of  polished  wrought  steel,  if  properly  shaped, 
are  the  best,  but  require  careful  handling  to  prevent  damage  to  type  and 
imposing  stone. 

Choose  Mallets  of  medium  weight  turned  from  lignum-vitse  or  iron- 
wood,  and  see  that  the  handles  are  thoroughly  secured. 

Planers  made  of  compact  mahogany-wood  and  perfectly  true  are  to  be 
preferred.  They  should  be  capped  with  a  strip  of  stout  calf-skin  or  kip, 
to  lessen  the  vibration  of  the  strokes  when  forms  are  planed  down. 

In  choosing  Printing  Presses  and  other  Office  Machinery,  have  only 
the  most  efficient  and  best  made  kinds,  if  possible.  These  will  be  found  to 
be  the  cheapest  in  the  end,  if  nice  work  and  durability  are  desired  from  them, 
although  the  prices  paid  for  them  may  be  greater  than  for  inferior  articles. 
Beware  of  troublesome  complications  that  require  experts  to  handle. 
Simplicity  of  construction  and  aCtion,  combined  with  strength,  are  most 
necessary.  Remember  the  machines  will  necessarily  be  managed,  more 
or  less,  by  partially  skilled  workmen  and  learners.  Scientific  invention 
and  modern  improvement  has  supplied  much  machinery  that  is  almost 
perfeCt  in  its  operation,  but  there  still  remains  considerable  that  is  little 
better  than  worthless,  which  should  never  be  admitted  into  a  well  regu¬ 
lated  office,  however  plausibly  those  concerned  in  its  sale  may  speak  of  it. 
Prudent  inquiry  among  disinterested  and  experienced  practical  men  will 
indicate  what  to  avoid  in  this  respeCt. 

Every  pressroom  should  be  provided  with  a  well-built  Roller  Closet 
as  nearly  air  tight  as  possible.  Rollers  are  among  the  most  expensive 
perishable  articles  of  a  printing  office,  and  if  carelessly  attended  to  they 
become  doubly  so.  They  should  be  arranged  systematically  and  sepa¬ 
rately,  according  to  size,  in  such  a  closet,  especially  in  cold  weather. 
Shallow  tin  pans,  to  be  filled  with  warm  water  in  dry  or  cool  seasons, 
should  be  placed  at  the  bottoms  of  closets,  to  allow  the  rollers  to  attraCt 
moisture,  which  will  preserve  them  in  good  working  condition  longer  than 
they  would  otherwise  be  kept. 

Have  Ley  Brushes  made  of  real  bristles  that  are  firm  yet  elastic,  and 
without  rough  or  irregular  rubbing  surfaces.  Much  small  type  is  injured 
by  inattention  to  this  item.  Try  a  brush  by  rubbing  it  briskly  over  the 
palm  of  the  hand  for  a  few  moments,  and  if  it  has  a  searching,  springy  feel, 
yet  produces  no  harsh  or  scratchy  sensation,  it  will  be  a  good  brush. 


Hints  About  Starting  an  Office. 


An  Ink  Table,  eighteen  inches  square  at  top,  and  three  feet  high,  with 
stout  legs  spreading  from  the  perpendicular  two  or  three  inches  at  the 
bottom,  and  furnished  with  one  or  two  drawers  for  holding  tympan  paper, 
odd  tools,  and  the  like,  belongs  properly  to  each  press  where  fountains  are 
not  used,  and  colors  are  frequently  changed. 

Ink  Stones  of  smoothly  finished  slate  or  marble,  whereon  to  mix, 
grind,  or  bray  out  inks  for  immediate  use,  are  better  and  cleaner  than  the 
iron  tables  attached  to  small  presses,  which  are  not  good  for  delicate 
colors. 

A  Muller  of  marble  that  will  not  easily  splinter,  or  of  the  best  flint 
glass,  is  useful  for  rubbing  up  old  inks  that  have  lost  some  of  their 
cohesiveness,  elasticity,  or  “  life.”  In  facft,  if  the  Muller  were  more  gener¬ 
ally  used,  inks  that  are  sometimes  condemned  as  worthless,  would  be  found 
very  good,  after  being  well  rubbed  in  cold  weather  by  its  means;  and  a 
rubbing  up  of  most  ordinary  black  or  colored  inks,  without  unduly  heating 
them,  improves  their  working  qualities  and  brilliancy  very  perceptibly  at 
all  times. 

Ley  Pots  should  he  made  of  iron  and  not  too  large;  because  if  too  much 
ley  is  made,  it  is  apt  to  become  dirty,  and  fill  up,  rather  than  clean,  type. 

Baskets  or  Bins,  for  the  reception  of  waste  and  spoilt  paper,  will 
prevent  the  slovenly  appearance  visible  in  many  press-rooms,  where  the 
floors  and  tables  are  allowed  to  be  littered  about. 

A  good  Drying  Rack,  for  laying  out  sheets  that  are  liable  to  set  oft' 
or  have  been  worked  damp,  is  a  very  useful  piece  of  furniture.  For  job 
offices,  those  made  about  twelve  feet  long,  eight  feet  high,  and  sixteen 
inches  deep,  with  six  standards  well  braced  together  at  top  and  bottom, 
and  supplied  with  shelves  ten  or  twelve  inches  apart,  the  bottoms  of  which 
are  made  of  flat,  smooth  slats,  separated  a  few  inches  from  each  other  to 
permit  the  circulation  of  air,  will  be  found  most  convenient,  as  they  can 
be  placed  along  walls,  and  occupy  less  useful  room  than  if  made  square. 

Another  useful  article,  and  one  that  should  always  be  had,  if  possible,- 
is  a  small,  solid  Bench,  supplied  with  a  vise,  saw,  files,  chisels,  plane, 
hammer,  and  a  few  other  tools.  Many  a  dollar  can  be  saved  by  having- 
such  a  bench  and  tools,  to  do  small  jobs  of  repairing  that  must  otherwise 
be  sent  away  to  be  done. 

Order,  Convenience,  and  Simplicity  in  arranging  a  working  place  ought 
to  be  carefully  observed.  A  crowded,  helter-skelter  condition  of  things 
makes  dailv  labor  irritating  and  uncomfortable;  while  ease  in  getting  at 
and  using  any  implement  or  material,  expedites  its  execution,  and  con¬ 
sequently  increases  the  profits  of  an  office. 

There  are  numerous  other  suggestions  that  might  be  made  relative  to 
organizing  an  office,  but  what  has  been  said  will  suffice.  A  little  fore¬ 
thought  and  care  will  indicate  such  additional  items  to  those  who  have 
the  well-being  of  their  establishments  at  heart. 


NAPOLEON  AFTER  WATERLOO. 


On  Lett  e  rp  r  e  s  s  Co  m  posit  i  o  n  . 

- o - 


Oil 


Letterpress 


f’oMPOsiTiON,  or  the  nice  arrangement  and  adjustment  of  type  im¬ 
plements  into  various  forms,  has  been  described  as  the  more  intellect¬ 
ual  portion  of  typographic  handicraft,  and  the  pressman’s  work  as  the 
mechanical  means  whereby  the  former  becomes  really  utilized,  and 
J  the  result  termed  printing  is  reached.  Each  operation,  however,  is 
dependent  upon  the  other  for  its  full  accomplishment,  and  an  intelligent 
understanding  and  co-operation  between  compositor  and  pressman  is 
essential  to  produce  in  the  best  manner  what  is  required  at  their  hands. 
Thoughtful  discrimination  and  painstaking  labor  is  necessary  in  both 
branches.  Although  superior  manipulation  in  either  may  serve  to  conceal 
the  defeats  of  the  other,  in  some  degree,  yet  it  is  the  true  policy  to  have 
both  as  excellent  as  possible  under  all  circumstances. 

While  there  is  positive  evidence  that  type  composition,  in  its  technical 
as  well  as  artistic  application,  is  continually  improving  in  most  portions 
of  the  country,  there  still  remains  to  be  regretted  that  which  is  defective 
and  unseemly  in  many  important  particulars.  The  absence  of  ambition, 
and  nearly  total  disregard  evinced  by  certain  so-called  printers  for  the 
“fitness  of  things,”  in  many  cases,  is  too  often  occasioned  bv  ignorance, 
lack  of  taste,  skill,  or  the  want  of  an  adequate  incentive  to  better  per¬ 
formance  on  the  part  of  such  printers;  and  a  destructive,  short-sighted 
indifference  to  good  execution  on  that  of  their  customers,  so  long  as  the 
latter  can  have  done  what  they  foolishly  suppose  will  answer  every  pur¬ 
pose,  at  a  merely'  nominal  price  for  the  service. 

The  tendency'  to  degrade  and  cheapen  this  the  best  aid  to  everv  com¬ 
mercial,  social,  artistic,  and  scientific  accomplishment,  has  retarded  its  full 
progress,  and  it  certainly'  indicates  a  want  of  proper  appreciation  of  the 
typographic  art  wherever  such  practices  rule.  We  are  sorrv  to  sav,  also, 
that  such  pseudo-printers  assist  in  extending  evils  that  are  becoming 
daily'  more  injurious  to  themselves  as  well  as  better  men. 


FIRST  THINGS  TO  LEARN. 


The  first  step  of  a  learner  should  be  to  acquire  the  names,  and  under¬ 
hand,  to  some  extent,  the  difference  between  the  various  implements  and 
materials  with  which  he  will  be  surrounded.  He  should  know  what  is 
roman,  italic,  antique,  gothic,  text,  script,  ornamental,  or  other  “  faces  " 
of  letters;  what  constitutes  a  full  fount  of  book  letter,  and  what  a  fount 
of  job  letter;  what  are  kerns,  shoulders,  shanks,  and  nicks  of  tvpe;  what 
are  rules,  dashes,  leads,  slugs,  leaders,  quotations,  and  metal,  wood,  and 
other  form  furniture.  He  should  be  shown  the  construiftion  of,  and 
variations  in,  different  kinds  of  tvpe  cases,  and  how  the  boxes  ought  to 


On  Letterpress  Composition. 

- o - 

be  occupied;  what  are  stands,  racks,  cabinets,  sticks,  gallej’s,  chases,  bod¬ 
kins,  mallets,  planers,  quoins,  imposing  stones,  and  other  accessories  of 
an  office  with  which  he  is  at  all  likely  to  be  brought  in  contadt;  thus 
making  him  familiar  with  their  technical  names  and  uses  even  before 
being  permitted  to  have  full  control  of,  or  access  to,  them. 

A  week’s  time  thus  consumed  by  an  earnest  and  intelligent  novice 
will  give  him  a  large  amount  of  theoretical  insight  that  will  hasten  his 
progress  when  it  is  put  into  adtual  practice;  and  he  will  be  better  pre¬ 
pared  to  respond  to  familiar  technical  directions  relating  to  the  articles 
about  him,  which  at  least  indiredtly  form  a  part  of  his  business,  and  are  to 
be  always  identified  with  his  future  operations  in  it. 

HOW  TO  LAY  A  CASE  WITH  NE'W  LETTER. 

Carefullv  remove  the  paper  from  around  the  type  as  it  comes  from  the 
founder,  and  stand  the  page  confined  by  its  cord  on  the  imposing  stone. 
Wet  it  with  a  weak  mixture  of  soap  and  water,  which  will  prevent  the 
letters  from  clinging  together  when  first  used.  Next  deposit  it  upon  a 
small  square  brass  galley — one  made  especially  for  casing  letter  if  at 
hand- — evenly  and  squarely,  with  the  nicks  of  the  type  up,  and  cautiously 
untie  the  string  so  as  to  make  no  pi.  Then  proceed  with  a  smooth,  stout 
rule  of  sufficient  length  to  take  up  three  or  more  lines  of  letters  or  “  sorts  ” 
of  the  same  kind;  and  holding  them  horizontally,  with  the  nicks  still 
uppermost  and  faces  toward  you,  slide  them  gently  from  left  to  right  into 
the  proper  box,  taking  care  that  the  faces  do  not  strike  perpendicularly 
or  scrape  against  the  sides  of  the  box.  Repeat  this  until  the  box  is 
comfortably  full,  and  never  shake  or  shove  letters  together  to  make  room 
for  more  in  a  box. 

Extra  sorts  should  be  placed  in  regular  lines  as  they  occur,  upon  a 
separate  galley,  to  be  tied  up,  papered,  marked,  and  cared  for  until  the 
boxes  are  to  be  replenished,  or  another  pair  of  cases  laid.  Bundling  up 
surplus  sorts  into  papers  is  an  excellent  mode  of  impairing  the  fine  lines 
of  the  letters — say  ten  per  cent. 

CASTING  OFF  COPY. 

This  requires  exadt  calculation  and  considerable  iudgment.  It  cannot 
be  done  well  in  haste.  If  the  “copy”  for  the  work  to  be  set  up  is  in 
manuscript,  and  regularly  written  on  sheets  of  paper  uniform  in  size,  the 
task  will  be  comparatively  easy;  but,  if,  on  the  other  hand,  as  is  often  the 
fadt,  the  copy  is  slovenly  and  irregularly  written  on  paper  varying  in  size, 
with  numerous  erasures,  interlines,  compressed  notes,  abbreviations,  and 
the  like,  it  is  a  matter  of  some  difficulty  to  arrive  at  complete  accuracy; 
yet  comprehensive  examination,  patience,  and  care,  will  ascertain  with 
tolerable  precision  what  the  compositor  has  to  do,  however  unattradtive 
and  irksome  the  duty  in  such  troublesome  instances  may  be. 

From  among  several  methods  in  vogue,  we  present  as  a  good  one  that 
of  first  resolving  the  written  matter  into  an  average  number  of  words  to  a 


On  L  ett  e  r  p  ress  Composition. 


page,  not  counting  chapter  lines,  sub-heads,  poetical  extracts,  breaks,  and 
like  contingencies,  which  should,  however,  be  subjected  to  a  separate  cal¬ 
culation,  and  added  to  the  cast-off  last. 

A  tolerably  close  estimate  of  the  words  contained  in  even  bad  manu¬ 
script  may  be  made  by  counting  the  lines  of  say  twelve  of  its  varying 
pages,  then  getting  an  average  per  line  of  the  words  in  several  lines  taken 
from  each  page,  and  multiplying  the  number  of  the  former  by  that  of 
the  latter.  Next  add  the  average  allowance  for  chapter  lines,  sub-heads, 
and  other  than  break  lines,  counting  them  as  full  lines.  Reduce  the  break 
lines  to  full  lines,  adding  them  to  the  whole,  and  you  have  the  contents  of 
twelve  pages.  Divide  by  twelve  to  find  the  contents  of  a  single  (average) 
page. 

Example: — A  work  of  400  pages  in  manuscript  is  submitted.  12  aver¬ 
age  pages,  taken  at  intervals,  give  an  average  of  30  lines  to  a  folio.  3 
lines  taken  at  various  places  from  each  of  these  12  pages  indicate  an  aver¬ 
age  of  11  words  to  a  line.  This  will  give  about  330  words  to  a  page, 
exclusive  of  breaks,  chapter,  and  other  lines,  for  which  an  allowance  is 
made  of  four  lines,  or  44  words,  for  each  page  of  manuscript,  which, 
added  to  330,  makes  374.  Multiply  the  374  words  per  page  by  the  400 
pages  in  the  manuscript,  and  you  have  a  result  of  149,600  words  in  all. 


To  know  how  many  pages  of  printed  matter  this  will  make,  it  is  now 
necessary  to  have  the  size  of  type  and  page  to  be  used.  An  exadl  printed 
page,  containing  the  one  and  representing  the  other,  is  alwavs  a  good 
guide  in  completing  the  calculation,  which  is  done  by  dividing  the  number 
of  words  contained  in  the  manuscript  by  that  of  the  printed  page.  This 
will  give  the  desired  cast-off  for  the  work  in  printed  pages.  Thus,  the 
estimate  of  the  manuscript  gives  149,600  words;  that  of  the  printed  page, 
of  the  size  required, — set  up  in  leaded  long-primer,  we  will  say,  for  ex¬ 
ample, — gives  4S0  words;  consequently,  149,600  divided  by  480  gives  312 
pages,  or  20  signatures,  if  printed  in  oiftavo. 

When  extra,  or  more  than  single,  “leading”  of  matter  is  required,  count 
the  extra  leads  (six-to-pica  being  the  size  most  used  in  book  composition) 
in  the  following  proportions:  three  for  a  nonpareil  line;  four  for  brevier 
and  bourgeois;  five  for  long-primer  and  small-pica;  six  for  pica;  and  so  on, 
increasing  or  diminishing  in  the  necessary  ratio  for  larger  or  lesser  sizes. 


For  works  under  144  pages,  the  cast-off  of  which  does  not  reach  a 
number  of  folios  divisible  by  4,  there  should  be  added  the  number  that 
will  make  it  so.  Thus,  no  will  be  counted  as  112;  133  as  136;  and  so  on. 
A  sufficient  allowance  of  pages,  added  in  the  same  way,  should  be  made 
in  cast-ofts  for  larger  works,  adopting  8  or  12  as  the  even  dividing  number. 
This  rule  applies  more  particularly  to  works  where  the  copy  is  very 
irregular  or  much  crowded  with  abbreviations  and  closely  written  notes, 
alterations,  interlines,  etc. 

Another  method  of  casting  off  copy,  is  to  set,  from  various  parts  of  the 
manuscript,  a  stickful  or  more  of  the  type  chosen,  to  the  measure  of  the 
page  decided  upon,  and  ascertain,  from  the  consumption  of  lines  of  writing 
by  those  of  type,  what  the  compositor’s  work  must  be.  This  will  do  very 


Sc 


>3 


—  r5  — 


On  Letterpress  Composition. 


well  in  short  works,  or  with  carefully  prepared  manuscript;  but,  for  close 
approximations,  the  plan  first  given  will  be  found  more  reliable. 

COPY  THAT  SHOULD  BE  ESTIMATED  BY  TIME. 

Tedious  and  elaborate  rule-and-figure,  and  other  descriptions  of  com¬ 
position  to  be  done  in  a  number  of  tabular  columns, — being  such  as  may  be 
denominated  special  “  piece  ”  work, — as  well  as  most  displays  and  general 
jobs,  that  require  more  or  less  careful  arrangement  and  design,  in  addition 
to  the  ordinary  labor  of  type-setting,  should  be  estimated  by  time  rather 
than  by  measurement.  It  is  a  fallacious  idea  that  “open”  display  com¬ 
position  takes  less  time  than  “straight”  or  even  solid  work  properly  so- 
called.  In  a  majority  of  instances,  it  will  take  more  time  to  do  it  well. 
Such  composition,  to  be  profitable,  requires  an  expert  workman,  who  can 
readily  appreciate  the  salient  points  involved  in  the  same,  although  those 
points  may  not  be  indicated  beyond  mere  words  in  the  copy. 

The  amount  of  main  or  body  matter — by  which  is  meant  that  part  of  a 
subject  that  of  necessity  runs  in  continuous  paragraphs — may  be  ascer¬ 
tained  by  finding  out  the  number  of  words  contained  therein,  and  then 
determining  what  number  of  lines  they  will  make  in  the  type  chosen  for 
them.  The  space  that  is  left,  after  such  matter  is  accommodated,  may 
then  be  consumed  in  displaying  more  or  less  prominently  particular  words 
and  sentences. 

In  tabular  work  of  several  columns,  the  amount  of  space  it  will  occupy 
may  be  quickly  determined  by  simply  counting  the  number  of  lines  in  that 
part  of  the  copy,  for  length,  and  then  setting  up  the  longest  word,  or  group 
of  words,  contained  in  single  lines  from  each  column,  in  such  type  as 
will  comfortably  accommodate  them  to  the  proper  measure,  first  allowing 
sufficient  space  for  the  length  rules  and  leads,  if  any  are  to  be  placed 
between  the  columns. 

Where  small  cuts  or  diagrams  are  introduced  in  the  midst  of,  or 
between,  paragraphs  of  the  main  subject  matter  of  a  page  or  job,  they 
should  be  reckoned  the  same  as  if  they  were  type  matter,  when  “mea¬ 
sured,”  and  not  “time,”  composition  is  estimated. 

TYPOGRAPHIC  DESIGN. 

The  art  of  planning  or  designing  work  to  be  done  with  type  imple¬ 
ments,  can  only  be  acquired  through  natural  skill,  foresight,  comparison, 
practice,  and  study.  Experience  and  taste  must  dictate  what  character 
of  outline  and  choice  of  material  will  produce  effective  harmony,  and,  at 
the  same  time,  perspicuity,  as  well  as  determine  what  proportion  particular 
letters,  catch  lines,  etc.  shall  bear  to  each  other,  and  in  what  places  en¬ 
gravings,  borders,  dashes,  or  other  ornamentation,  shall  be  introduced. 

The  general  principles  of  composing  typographic  effects  may  be  set 
forth;  but  rules  that  will  teach  the  process  of  producing  original  ideas,  and 
gracefully  avoiding  perceptible  sameness  in  arranging  the  multitude  of 
subjects  that  fall  into  the  compositor’s  hands,  have  not  yet  been  discovered, 
so  far  as  we  know.  The  few  hints  that  follow  may  prove  ot  some  service 
to  inexperienced  students  of  typographic  design. 

—  16  — 


On  Letterpress  Composition. 


On  taking  up  the  subject  matter  for  which  a  design  is  to  be  made, 
carefully  scan  it  over,  taking  note  of  the  parts  that  seem  most  important, 
mentally  reserving  them  for  the  strong  points  of  displaj'.  The  position 
of  minor  parts  of  the  theme  may  then  be  decided  upon.  Sometimes  a 
tasteful  idea,  in  the  shape  of  a  panel,  fillet,  scroll,  ground -work,  or  the  like, 
applied  to  a  totally  different  use,  can  be  made  subservient  to  type  design, 
provided  the  compositor  possesses  constructive  ability  enough  to  seize  and 
adapt  it  to  his  work. 

A  good  way  to  get  up  a  design,  is  to  sketch  it  out  first  on  paper.  A 
knowledge  of  mathematical  drawing,  even  if  limited,  will  also  prove  of 
great  assistance. 

Changes  of  words  and  phrases,  when  they  do  not  mar  the  original  sense, 
also  contribute  at  times  to  render  a  device  more  complete.  Such  liberties 
with  the  text,  however,  should  not  be  taken  without  the  consent  of  the 
party  most  concerned  in  it.  But  it  not  infrequently  happens  that  patrons 
expressly  desire  and  expeCt  this  from  the  intelligent  printer,  and  he  is 
accorded  reasonable  latitude  to  shape  his  ideas  without  an  arbitrary  ad¬ 
herence  to  copy-lines,  if  the  attractiveness  of  the  printed  work  can  be 
enhanced  by  making  unimportant  deviations.  Except  in  matter  admitting 
of  no  alteration,  the  privilege  of  making  slight  changes  and  transpositions 
should  generally  be  given  to  the  compositor,  when  a  handsome  design  is 
demanded  from  him. 

In  all  ar/rangements  of  type  there  should  be  no  clumsy,  over-balanced, 
or  unnecessarily  bold,  lines;  and  where  it  is  possible  to  have  it  so,  the 
strongest  etfeCt  should  be  brought,  like  that  of  an  artistic  engraving,  as 
nearly  central  as  possible. 

In  show  or  poster  composition, — almost  a  distinCt  branch  of  the  art, — 
the  main  point  to  be  brought  out  is  the  immediate  thing  announced,  which 
should  of  course  challenge  the  attention  of  the  beholder  at  once,  and  as 
strongly  as  possible,  when  printed. 

Ornaments  should  be  used  to  improve  the  appearance  of  work,  and  not 
merely  because  they  are  at  hand,  or  to  fill  it  up.  Excessive  embellishment 
often  utterly  destroys  the  attractiveness  it  is  meant  to  increase. 

Whatever  shape  is  determined  upon  as  appropriate  for  the  work  in 
hand, — whether  a  circle,  square,  triangle,  oval,  parallelogram,  or  other 
geometrical  figure, — should  be  fairly  proportioned  and  accurately  formed. 
Thus,  a  circle  should  be  a  true  circle,  and  a  square  a  correCt  square,  and 
so  on. 

Curved  composition  is  handsome  and  attractive  in  proportion  to  its 
exaCt  execution  and  elegant  equilibrium.  When  inartisticallv  performed, 
with  little  or  no  regard  for  graceful  outline  and  the  harmony  of  type,  there 
is  scarcely  anything  in  typography  more  unpleasant  to  a  sensitive  eve. 

In  designing,  very  little  importance  should  be  attached  to  the  minor 
connecting  words  or  phrases  which  are  to  be  used  as  catch  lines.  Keep 
the  prominent  features  of  the  subject  that  is  to  be  set  forth  in  view,  toning 
down  and  modifying  the  remainder  to  suit. 

1  in  —17  — 


On  Letterpress  Composition. 

- o - 

SETTING  A  STICK  TO  MEASURE. 

Fill  the  stick  with  evenly  cut  leads  or  reglets  of  the  length  to  be  used, 
flatwise.  Then  place  a  slip  of  tolerablj'  thick  hard  paper  or  thin  card-board 
between  them  and  the  sliding-bar  of  the  stick;  press  the  bar  squarely 
against  them  and  fasten  it  securely. 

When  two  or  more  leads  of  different  lengths  are  to  be  used  together 
in  making  up  a  measure,  see  that  thej'  fit  it  exactly  without  binding,  or 
allowing  enough  room  for  points  and  thin  letters  to  slip  past  their  ends. 
Such  leads  should  always  be  placed  inside  the  stick  as  the  type  lines  are  set 
up.  They  should  also  be  so  placed  between  the  lines  of  matter  that  the 
adjoining  ends  of  one  set  are  lapped  across  or  “  broken  ”  by  those  of 
another,  thus  preventing  ridges  and  other  irregularities  that  a  continuous 
use  of  leads  of  the  same  length,  one  after  another,  is  very  apt  to  produce. 

The  parallel  of  a  stick  when  set  may  be  tested  by  means  of  a  carefully 
justified  quad-line  applied  at  top  and  bottom.  If  any  deviation  from 
accuracy  is  found,  as  will  happen  with  worn  or  imperfedf  sticks,  it  may  he 
remedied  by  inserting  bits  of  hard  paper  or  thin  brass  under  either  end 
of  the  foot  of  the  sliding-bar,  as  may  be  required. 

A  stick  should  not  be  changed  or  “broken”  until  the  work  for  which  it 
is  set  shall  be  completed,  as  a  very  little  variation  in  a  measure,  especially 
for  page  composition,  is  sufficient  to  cause  bad  register  when  the  matter  so 
set  up  comes  to  be  printed.  Additional  sticks  for  the  same  work  and  mea¬ 
sure  should  be  made  up  from  several  lines  set  in  the  first  one;  and  an  un¬ 
derstanding  should  always  be  had  among  companions  engaged  on  the  same 
work,  that  the  justification,  indentions,  etc.  may  be  alike  with  all. 


POSITION  OF  THE  COMPOSITOR  AT  CASE. 

An  eredt  yet  natural  position  of  the  body,  with  the  shoulders  thrown 
slightly  back,  is  the  best  to  be  adopted  by  the  compositor  while  at  work. 
The  heels  should  be  pretty  close  together  on  the  same  line,  while  the  feet 
describe  an  angle  of  about  forty-five  degrees. 

The  right  distance  to  stand  from  the  case  will  vary  in  persons  of  dif¬ 
ferent  figures;  but,  as  a  general  rule,  from  three  to  six  inches  away  from 
the  front  of  the  stand,  and  slightly  to  the  left  of  the  middle  brace  of  the 
lower-case,  will  be  found  a  convenient  place. 

The  habits  of  hunching  the  shoulders,  leaning  the  stomach  against  the 
stand,  crossing  the  legs,  swinging  the  body,  and  other  unseemly  attitudes 
and  motions,  as  well  as  wetting  the  fingers  with  spittle,  tapping  the  letters 
against  the  boxes  or  stick  before  placing  them  in  the  latter,  and  rattling 
them  unnecessarily  when  there,  are  all  much  better  in  the  breach  than  in 
the  observance. 

Sitting  down  at  composition  should  not  be  indulged  in  except  where 
infirmity  makes  it  really  necessary  for  the  workman. 

In  light  composition  the  stick  should  be  caused  to  follow  the  setting 
hand,  as  considerable  more  work  can  be  accomplished  in  a  day  by  doing 

—  18  — 


On  Letterpress  Composition. 


so,  than  if  the  stick  be  kept  stationary  and  every  type  carried  to  it.  It  is 
also  a  good  practice  for  the  compositor’s  mind  not  only  to  regulate  the 
mechanical  operations  of  his  fingers,  but  to  keep  in  advance  of  them  bv 
taking  off  a  sentence  of  the  copy  at  a  time, — a  faculty  which  may  be  ac¬ 
quired  after  some  mental  practice, — and  having  it  so  ready  that  there  shall 
be  no  “waits”  or  pauses  that  must  otherwise  take  place. 

The  eyes  of  a  compositor  should  also  be  trained  to  observe  how  a  type 
is  situated  in  the  box,  before  being  picked  up  by  the  responsive  fingers, 
which  should  at  once  grasp  it  near  the  top  and  deftly  turn  it,  so  as  to  bring 
the  nicks  uppermost  and  the  foot  forward,  in  its  passage  to  the  stick — an 
action  requiring  altogether  but  a  moment’s  time,  vet  of  importance  that  its 
“sleight-of-hand”  be  in  precise  concert  with  the  brain-telegraphy. 

SPACING  AND  JUSTIFICATION. 

There  is  scarcely  anything  in  composition  that  indicates  the  careful  and 
expert  workman  more  than  even  spacing  and  good  justification.  By  the 
first  term  is  meant  the  equal  separation,  according  to  the  formation  of  the 
letters  and  points,  between  words,  so  that  when  printed  they  will  present 
a  regular  appearance — neither  too  wide  asunder  nor  crowded  together. 
Justification  implies  the  tightening  of  the  lines  from  end  to  end,  so  that 
all  will  be  of  equal  length  and  tightnesss  when  locked  up  together  in  the 
form.  The  best  workmen  justifj'only  moderately  tight,  and  when  a  stick, 
containing  lines  of  type  set  squarely  on  their  bottoms,  can  be  leaned  over 
when  the  composing-rule  is  away,  without  dropping  or  tilting  forward 
such  lines,  the  latter  may  be  said  to  be  “well-justified.” 

When  lines  are  set  up,  and  there  is  a  surplus  of  space  left  that  will  not 
permit  the  insertion  of  a  syllable  of  the  next  word  at  a  proper  dividing 
place,  the  additional  space  must  be  distributed  nearly  equally  along  the 
line,  allowing  slightly  more  between  such  ascending  letters  as  f  b,  d  h,  etc. 
where  they  terminate  and  commence  consecutive  words.  Between  e  o, 
w  y,  and  other  short  or  angular  letters,  and  after  commas,  less  space  should 
be  allowed,  as  in  such  combinations  the  openings  will  appear  as  great  as 
those  that  are  really  wider  between  ascending  letters  forming  parallels, 
because  of  the  curves,  angles,  and  shoulders  of  the  shorter  letters. 

In  ordinary  solid  or  single-leaded  composition,  (using  six-to-pica  leads,) 
the  three-em  or  “thick-”  space  is  deemed  sufficient  between  words,  and  an 
em-quadrate  between  sentences.  The  increase  allowed  between  words  in 
justifying  a  line,  should  seldom  go  beyond  an  en-quadrate,  or,  at  most,  two 
thick-spaces,  where  neatness  is  expe<5ted.  Exceptions  to  this,  however, 
may  be  made  in  cases  w'here  the  matter  is  verv  widely  leaded,  when  the 
spacing  should  be  proportionate  with  the  distance  between  the  lines.  A 
space  called  the  “patent-space,”  which  is  a  medium  between  the  en-quadrate 
and  thick-space,  is  very  convenient,  and  should  be  in  all  book-type  cases. 

Six-em  or  “  hair-”  spaces  are  placed  before  colons,  semi-colons,  exclama¬ 
tion,  and  interrogation-points,  and  an  en-quadrate  immediately  after  them. 
Hair-spaces  should  also  be  placed  after  inverted  commas,  that  mark  quoted 
words  and  sentences,  and  before  the  word  that  follows  them.  In  some 


—  19  — 


On  Letterpress  Composition. 


offices,  the  hair-space  is  placed  between  the  parentheses  and  bracket-marks 
and  the  words  the}'  belong  to,  and  also  on  each  side  of  an  em-dash,  except 
where  one  side  of  it  is  next  to  a  comma,  apostrophe,  or  period. 

The  following  sentences  exhibit  most  of  these  usages: 

1.  — ”  Yes:  1  saw  him  strike  George;  but  he  did  it  in  self-defence.” 

2.  —  “  Behold  !  —  there  by  the  river-side  —  is  it  not  as  1  have  described  it?”  exclaimed  and  de¬ 
manded  the  man  excitedly. —  [Macon  (  Ga.)  Letter .] 

In  very  narrow  measures,  considerable  management  is  necessary  to 
preserve  even  tolerably  good  spacing.  In  such  cases,  hair-spacing  the 
letters  of  words  is  better  than  throwing  all  the  surplus  space  between  them. 

Bending  spaces,  and  using  substances  not  belonging  to  the  case,  such 
as  wedges  of  wood,  crumbs  of  paper,  etc.  to  compel  justification,  should 
never  be  practiced  or  tolerated. 

When  a  paragraph  is  completed,  and  a  white-line  is  to  be  set  up  after 
the  break,  any  small  spaces  required  to  justify  it  should  be  put  immediately 
after  the  closing  period,  and  not  at  the  end  of  the  quad-line,  or  scattered 
among  the  quadrates,  for  the  reason  that  this  keeps  the  spaces  compaCtly 
in  the  best  place  for  them,  and  saves  time  in  distribution  afterward. 

!  INDENTION. 

The  space  used  in  setting  inward  from  the  beginning  the  first  line  of 
ordinary  paragraphs,  is  what  is  usually  meant  bv  this  word,  although  it  is 
applied  to  indicate  other  modes  of  arranging  type  matter. 

No  indention  is  required  in  paragraphs  begun  with  an  initial  letter, 
nor  should  there  be  any  made  in  the  opening  paragraph  of  a  subject,  or 
after  chapter  and  other  caption  lines  other  than  sub-heads. 

An  em-quadrate  is  commonly  used  before  paragraphs  in  newspapers, 
and  where  measures  are  less  than  twenty-six  ems  of  nonpareil  and  not 
more  than  twenty-two  ems  of  pica  in  width.  In  wider  measures,  an 
additional  thick-space,  and  even  as  much  as  three  ems,  gives  a  better 
appearance  to  composition. 

This  paragraph  is  indented  according  to  what  is  variously  called  side, 
hanging,  and  under  indention,  a  style  principally  employed  in  the 
introductory  paragraphs  of  legislative  and  other  legal  printing;  in  the 
summary  lines  of  chapters  and  tables  of  contents;  in  indexes  where 
there  are  several  lines  to  an  item;  in  catalogues,  etc. 

This  paragraph  is  set  up  in  the  technically  termed  “  double-hanging  ’’ 
or  increasing  indention  method,  and  is  chiefly  used  in 
titles,  dedications,  advertisements,  circulars, 
hand-bills,  and  other  dis¬ 
play  work. 

Cut-in  indentions  are  those  where  enough  of  the  subject  matter  is  set 
inward  to  admit  marginal  notes  referring  to  the  contents  of  the  paragraphs 
wherein  they  occur.  They  are  also  employed  to  let  into  the  paragraph  or 
page  embellishing  words,  letters,  and  cuts,  when  the  latter  are  to  be  printed 
separately. 


On  L  e  1 1 e  rf  re  s  s  C  o  in  p  o  s  i  t  i  o  n  . 


TO  EMPTY  A  STICK. 

Place  the  composing  rule  along  the  outside  of  the  last  line;  grasp  the 
matter  set  up  firmlv  at  the  ends  with  the  forefingers  and  thumbs,  at  the 
same  time  pressing  the  middle  fingers  against  the  ends  of  all  the  type 
lines;  then  lift  the  mass  out  carefully,  bearing  it  toward  you  so  that  the 
first  line  shall  be  uppermost.  Then  deposit  it  on  a  galley,  being  cautious 
to  have  all  the  matter  squarely  on  its  feet  or  bottom.  Any  type  that  may 
stand  above  the  others  should  be  pressed  down  with  the  soft  parts  of  the 
fingers.  Finally,  square  it  up  by  pressing  the  rule  flatwise  along  the  ends 
of  the  lines,  and  place  a  slug  or  piece  of  metal  furniture  against  the  matter, 
to  prevent  its  falling  down  if  jolted,  while  additional  stickfuls  are  being 
set  up. 

DISPLAY  COMPOSITION. 

In  most  job  or  “  display”  composition,  careful  spacing  of  the  words 
and  letters,  and  having  the  lines  in  good  proportion  to  each  other, 
greatly  enhances  the  attractiveness  and  equipoise  of  the  work. 

In  some  cases, — especially  among  the  larger  sizes  of  capitals  cast  on 
square  or  expanded  bodies, — letters  of  peculiar  shapes,  like  WY.  L  J,  etc. 
do  not  stand  well  together,  but  present  a  detached  appearance;  while  ES. 
DB,  and  other  combinations  occurring  in  the  same  word,  perhaps,  come 
closely  together.  Where  it  can  he  done,  the  distance  between  letters 
should  be  equalized  as  much  as  possible,  particularly  in  prominent  lines. 
The  letters  ES  look  better  with  a  bit  of  card  or  a  hair-space  between  them 
in  most  instances  where  their  faces  are  wide. 

The  two  following  lines  will  show  the  difference  in  appearance  between 
spaced  and  unspaced  letters: 


LANE  WYLIES’  BEST. 
LANE  WYLIES’  BEST. 


In  spacing  out  display  lines,  the  formation  of  the  letters  used  should 
not  onlv  be  considered,  as  above,  but  also  whether  they  be  condensed, 
regular,  or  extended,  in  order  that  the  spacing  between  words  may  be 
determined.  As  a  general  rule,  en-quadrates  should  be  placed  between 
words  set  up  in  capitals  and  small  capitals  used  together;  and  two  three- 
em  spaces  between  capitals  used  alone,  when  the  type  is  slightly-  condensed 
or  moderately  light,  like  romans.  A  proper  increase  of  space  should  be 
made  to  this  allowance  for  very  full-faced  or  extended  type.  Lines  set 
up  in  extra-condensed  lower-case,  long,  narrow-faced  texts,  and  some 
other  styles,  require  less  space  than  those  mentioned  above.  Nothing 
looks  worse  than  widely  spaced  lines  of  condensed  text.  We  give  some 
examples  of  spacing  on  page  22. 


On  Letterpress  Composition. 


Bad  Spacing. 

Among  Mankind  Evil  Associations  Corrupt 


Good  Morals. 


Correct  Spacing. 

Among  Mankind  Evil  Associations  Corrupt  Good  Morals. 


Bad  Spacing. 

EXPLANATION  OF  THE  DIAGRAM  ON  THE  OPPOSITE  PAGE. 


Correct  Spacing. 

EXPLANATION  OF  THE  DIAGRAM  ON  THE  OPPOSITE  PAGE. 


Bad  Spacing. 

LIST  OF  BOOKS  OINT  HAND; 

Correct  Spacing. 

LIST  OF  BOOHS  ON  BATTID  a 


Bad  Spacing. 

|jitliam  V 


Correct  Spacing. 


When  fancy  or  other  initial  letters  larger  than  the  body  type  of  the 
matter  with  which  they  will  go  are  introduced,  the  remainder  of  the  begin¬ 
ning  word  of  the  subject  should  be  in  capitals  or  small  capitals,  and  made 
to  “line”  exactly  at  the  top  with  the  initial  letter  itself,  and  not  with  the 
ornamental  work  that  may  surround  it,  except  when  the  initial  is  on  a 
u-round  and  surrounded  by  a  line  or  border,  in  which  case  the  top  of  the 
first  line  will  look  best  if  lined  with  the  top  edge  of  the  bordering  line. 

Composition  in  script  type  needs  to  be  spaced  according  to  the  shape 
of  the  various  letters.  In  many  scripts,  shoulders  of  different  widths 
occur  on  the  bodies  of  the  capitals,  points,  etc.  and  little  or  no  space  need 
precede  or  follow  them.  Carelessly  spaced  script  is  very  unpresentable. 

When  a  large  broad  letter  has  a  period  or  comma  after  it,  less  space 
than  between  words  should  be  used,  as  the  wide  shoulder  at  the  top  of 
these  characters  will  make  up  for  the  difference. 


The  use  of  two  points  together — for  instance,  a  comma  after  a  period 
denoting  an  abbreviated  word  or  initial — is  now  ignored  by  most  good  job 
printers.  It  certainly  does  not  improve  a  display  line  to  have  two  points 
next  each  other.  In  book  work,  however,  both  points  are  generally  used. 


In  composing  curved  work,  it  is  best  to  form  a  frame  of  metal  furniture 
the  size  of  the  page  or  job,  within  the  chase  that  it  will  be  worked  in,  and 
arrange  it  on  an  imposing  stone  or  a  slice  galley.  Place  the  straight  matter 


(No.  4.) 


I 


( 


* 


On  Letterpress  Composition. 


inside  of  this  frame  first,  and  then  form  your  curvatures  as  desired,  so  that 
when  the  job  is  done,  you  may'  lock  it  up  at  once  and  move  it  without 
danger  of  having  the  arrangement  shattered. 

In  offices  where  there  are  no  founts  of  labor-saving  curvatures, — which 
are  very  useful,  by  the  way, — they  may  be  made  from  thin  brass  reglets 
cut  lead  height.  Bent  leads  are  unprofitable  except  for  small  curves. 

Ground  plaster  of  Paris,  mixed  with  water  to  the  consistency  of  a  thin 
paste,  and  carefully  poured  around  complicated  curved  lines,  is  probably 
the  quickest  means  of  completely  justifying  them  in  the  form.  There  are 
objections  to  the  use  of  this  plaster  about  a  printing  office;  but,  if  handled 
by  a  skilful  workman,  it  can  be  made  quite  serviceable  in  all  kinds  of 
intricate  work  without  material  detriment. 

The  principal  beauty  of  all  display  composition  proceeds  from  the 
judicious  bringing  together  of  harmonious  type  faces,  rather  than  bv 
means  of  overwrought,  and  frequently  confusing,  combinations,  made  up 
of  things  individually  handsome,  but  rendered  distasteful  from  there  being 
too  many  similar  ones  placed  together.  Ornament  often  enhances  the 
beauty  of  job  composition;  but,  to  be  really  effective,  it  must  be  relieved 
bv  contrast  with  what  is  simpler  and  plainer  than  itself. 

The  lines  of  display  composition  to  be  attractive  must  vary  in  their  sizes 
and  degrees  of  strength,  exhibiting,  as  it  were,  the  effeCts  of  light  and  shade. 
A  long  line  should  be  placed  between  two  shorter  ones  neither  of  the 
same  length,  and  these  again  harmonized  to  others  longer  or  shorter  than 
themselves.  Several  lines  of  the  same  length  (except  in  poster  work  be¬ 
tween  rules)  following  each  other,  do  not  look  neat.  Lines  of  large,  heavy 
letters  need  to  be  relieved  with  smaller  light  ones  in  the  same  manner. 

The  crowding  together  of  heavy-faced  type — expressively  called  “  loud” 
by  printers — with  but  little  space  between  lines  to  relieve  them,  in  such 
descriptions  of  work  as  business  cards;  letter,  note,  and  bill-heads;  blanks; 
circulars  (except  small  hand-bills);  title-pages;  and  other  kinds  of  printing 
intended  more  particularly  for  private  circulation  and  perusal,  we  consider 
in  bad  taste.  It  is  true  that  patrons  frequently  demand  such  arrangements 
under  the  mistaken  idea  that  they  are  getting  a  more  “  telling  ”  effeCt. 
But  we  suspeCt  this  occurs,  in  many  cases,  more  from  the  spirit  of 
imitating  others  than  from  reflection  about  the  matter.  What  advan¬ 
tage  accrues  by  so  flagrant  a  departure  from  every  rule  of  neatness,  as  is 
often  exhibited  by  printers  as  well  as  customers  in  this  respeCt,  we  have 
as  yet  failed  to  discover,  holding,  as  we  do,  that  clearly  defined  elegance — 
distinCt,  but  well  relieved  with  liberal  margins — is  far  more  impressive 
upon  popular  appreciation  than  the  blackest  clumsiness. 

Handsome  results  may  be  had  from  type  of  a  uniform  style  of  face, 
provided  the  variety  of  sizes  will  allow  them  to  relieve  each  other. 

Flourishes  made  from  brass  rule,  or  cast  on  type  bodies,  have  not  yet 
reached  the  perfection  that  should  make  them  much  sought  after  by 
printers,  although  just  at  present  the  disposition  to  use  them  prevails.  In 
the  hands  of  an  artistic  compositor  they  can  be  arranged  pleasingly  but 

i-k  --  • 


0  »  Letterpress  Composition. 
— ■<>- 


for  ordinary  purposes  they  are  extremely  unadaptable  as  well  as  trouble¬ 
some.  In  our  estimation  they  belong  to  the  time-wasting  things,  and  may 
properly  be  said  to  be  among  the  patience-trying,  money -losing  imple¬ 
ments  of  a  printing  office. 

Sloping  or  italic  faces  of  type  intermingled  with  stiff,  perpendicular 
|  sorts,  do  not  produce  an  agreeable  effeCt  when  printed.  Broad-faced  texts, 
the  lower-case  of  neat  antiques,  gothics,  and  a  few  other  styles,  harmonize, 
and  at  the  same  time  contrast,  with  sloping  letters  best. 

When  a  piece  of  composition  is  done  with  a  view  to  having  it  printed  in 
several  colors,  finely  shaded  or  very  ornamental  type  should  be  sparingly 
i  used,  as  the  colors,  if  at  all  delicate,  will  not  show  off"  to  advantage  on 
such  faces.  Colors  require  surface  to  be  effective.  The  matter  for  such 
printing  should  be  set  up  all  together  and  proved  until  satisfactory.  An 
impression  taken  on  dry,  hard  paper  should  then  be  used  as  a  pattern 
i  in  arranging  the  lines  for  the  different  colors.  If  quad-lines  of  the  same 
body  as  the  lines  removed  are  put  in  their  places,  a  form  can  be  made  up 
for  the  press  much  quicker  and  more  correCtly  than  if  reglets  or  numerous 
leads  are  used,  as  the  last  will  yield  more  or  less,  whereas  the  first  will  not. 

The  division  of  a  form  for  printing  in  several  colors  should  be  made  so 
that  no  preponderance  of  any  one  color  will  be  noticeable  when  printed. 
The  principal  display  lines  should  be  in  the  darker  or  stronger  colors. 

If  card  or  other  paper  spacing  is  used  in  composition  intended  to  be 
divided  for  several  colors,  it  must  not  be  wet,  as  that  will  cause  the  paper 
to  swell,  thus  destroying  the  justification  of  the  lines,  and  impairing  the 
f  register  where  exactness  is  necessary. 

The  production  of  many  varieties  of  ornamented  and  plain  rules, 
together  with  the  improved  facilities  whereby  to  mitre  and  curve  them, 
afford  much  assistance  to  an  ingenious  compositor  in  executing  his 
designs.  Whether  such  rules  be  used  in  combination  with  corner  and 
centre  pieces,  or  separately,  if  handled  artistically  and  with  a  due  regard 
f  for  symmetry,  they  always  produce  a  pleasing  effeCt,  quite  equal,  if  not 

j  superior,  to  the  complicated  combination  borders  that  require  much  time 

■  to  put  them  together  well. 

A  simple  but  neat  arrangement  of  rules  that  have  straight  lines  for 
j  faces  may  be  made  by  crossing  them  at  the  corners  at  right  angles  and 

j  carrying  the  ends  past  the  point  of  intersection.  This  may  be  done  by 

slotting  the  pieces  with  a  saw  exaCtly  as  thick  as  the  rule,  cutting  one 
piece  half  way  from  the  top  and  the  other  half  way  from  the  bottom.  Or, 
it  may  be  done  by  the  compositor  using  rules  long  enough  to  include  the 
projecting  ends  one  way.  Then  put  in  the  pieces  that  go  the  other  way, 
j  setting  them  inward  as  far  as  the  projecting  ends  are  to  be  in  length- — say 
a  long-primer,  pica,  great-primer,  etc.  Supply  the  other  projecting  ends 
where  they  are  needed  by  justifying  pieces  cut  to  the  size  of  the  others 
and  carefully  squared,  so  as  to  fit  up  closely  against  the  longer  rules. 

When  type  matter  is  emptied  upon  a  galley  that  is  laid  upon  a  case, 
it  should  be  well  squared  against  the  ledges  of  the  galley,  so  that  it  will  be 

—  24  — 

~  '  IP 


On  Letterpress  Composition. 


perpendicular  when  locked  up  to  prove.  Carelessness  in  this  particular, 
especially  with  solid  matter,  often  brings  it  to  press  slightly  canted  or  “off 
its  feet,”  giving  considerable  trouble  to  redlify. 

It  is  of  importance  after  a  piece  of  composition  is  done,  to  see  that 
it  is  fairly  “opened  out,”  or  with  the  lines  so  separated  as  to  preserve  a 
good  balance  relatively.  It  often  occurs  that  otherwise  really  good  work 
is  marred  by  neglech  or  ignorance  of  this  particular.  We  subjoin  an 
illustration : 


Well  Balanced. 

HAWLEY’S 

Stationery  and  News  Depot. 

PHOTOGRAPH  ALBUMS, 

AND  AGENCY  FOR 

H ITCH COCK’S  MUSICAL  PUBLICATIONS, 

164  Vine  St.  Cincinnati. 


Badly  Balanced. 

ROYER  WHEEL  COMPANY, 

Manufacturers  of  the 

SARVEN  PATENT  WHEEL, 

Also,  Spokes,  Hubs,  Felloes,  Shafts,  Poles,  and  all  other  Wood 
"Work  used  by  Carriage  Makers. 

Office,  No.  375  West  Third  Street,  below  Smith, 

CINCINNATI. 

Imprints,  when  they  are  admissible  in  fine  composition,  should  be  set 
small  and  placed  where  they  will  not  be  too  prominent,  otherwise  they 
become  offensive  and  are  liable  to  be  ordered  out  by  the  patron. 

Novices  must  be  cautious  to  remember  that  the  combinations  fi,  ff,  fl, 
ffi,  ffl,  in  founts  of  Roman  type,  are  cast  on  one  body  on  account  of  the 


'Sid.y^'^y<D'Q^9>'0...  ^CX-_:ysS>^>£GX3^^cX^ 


O  «  L  ett  e  r  p  ress  Composition. 

- o - 

kerns  of  the  fs,  which  would  be  broken  off  or  throw  the  letters  out  of 
perpendicular  if  set  up  separately.  The  dipthongs  y£,  CE,  se,  ce,  are  not 
proper  when  formed  with  two  single  letters. 

When  letters  are  lower  than  others,  from  wear  or  other  causes,  they 
may  be  brought  to  the  proper  height  by  tapping  them  a  little  on  each  side 
of  the  lower  end. 


BOOK  COMPOSITION. 

Title-pages  belong  properly  to  display  composition,  and  the  beauty  of 
them  depends  to  a  great  extent  upon  the  taste  of  the  compositor.  Whether 
titles  are  set  up  plainly  or  with  ornamented  type,  they  should  never  be 
crowded,  but  free  and  open.  We  think  that  simple  elegance,  more  than 
show,  in  title-pages,  prepossesses  one  toward  current  books  or  pamphlets. 

The  Dedication  goes  directly  after  the  Title,  and  should  be  tastefully  set 
up  with  text  and  italic,  or  with  capitals  and  small  capitals,  well  displayed 
and  opened  out.  Dedications  seldom  occupy  more  than  one  page,  and, 
if  not  too  long,  afford  the  compositor  an  opportunity  of  showing  his  taste 
as  much  as  would  title-pages. 

The  Summary  of  Contents  is  placed  immediately  before  the  Preface  of  a 
book.  The  Index  goes  at  the  end  of  the  work,  and  should  be  alphabetically 
arranged.  Such  matter  is  set  in  type  two  sizes  less  than  that  of  the  text. 
When  the  summary  lines  of  chapters  or  index  items  make  more  than  one 
line,  those  which  follow  have  a  side  indention  of  not  less  than  one  em. 

Prefaces  and  Introductions  are  sometimes  set  larger  and  sometimes 
smaller  than  the  text.  We  prefer  using  the  same  size  of  type  as  in  the 
body  of  the  work,  distinguishing  the  prefatory  remarks,  if  necessary,  by 
wider  leading.  The  use  of  Roman  numerals  for  folios  in  the  introduction 
also  gives  it  a  distinCtiveness,  thus:  iii  for  3;  xiv  for  14,  etc.  The  letter 
for  running  heads  is  best  to  be  alike  throughout  a  book — introduction  and 
all.  We  have  departed  from  this  rule  in  the  specimen  pages  of  the  present 
volume  in  order  to  show  as  great  a  variety  of  headings  as  possible. 

Running  head-lines  of  pages,  and  sub-heads  designating  passages  in 
the  subjeCt  matter,  are  usually  put  in  the  small  capitals  or  italic  of  the 
body  letter  employed,  or  in  small,  well-cut,  light-faced  antiques  or  gothics. 
Some  other  styles  of  plain  faces,  such  as  Celtics,  and  even  ornamented 
texts,  look  very  well  in  such  places  also. 

Set  foot-notes — those  that  are  placed  at  the  bottoms  of  book  pages — in 
tvpe  two  or  three  sizes  smaller  than  that  of  the  body  of  the  work.  Do 
not  let  them  be  too  close  to  the  text,  and  cut  them  off  from  it  by  means  of 
a  plain  single  rule,  about  one-third  of  the  width  of  the  page  in  length,  and 
placed  on  the  left  hand  side  squarely  with  the  edge.  Foot-notes,  extracts, 
and  all  introduced  sizes  of  type,  whether  larger  or  smaller  than  the  text, 
should  have  the  same  indention — as,  for  instance,  if  pica  be  the  body  type, 
with  an  em  indention,  and  nonpareil  be  used  for  notes,  the  latter  should 
have  two  ems  indention  to  correspond  with  the  one  em  of  pica. 

—  26  — 


(No.  5.) 


THE  WHIRLPOOL— ROCKCASTLE  RIVER. 


; 


<  (No.  6)  VIEW  IN  YOSEMITE  VALLEY. 


By  permission — from  the  44  Illustrated  Union  Hand-Book  for  1871-,”  published  by  C.  W.  Starbuck  &  Co.  or  the  Cincinnati  I  imes. 


On  Letterpress  Composition. 


Side-  or  marginal-,  cut-in-,  and  centre-notes,  are  always  put  in  type 
at  least  two  sizes  smaller  than  the  text.  They  often  require  skilful 
management  to  make  them  appear  to  good  advantage.  When  possible,  a 
measure  of  even  ems  of  pica  should  be  adopted  for  marginal-notes,  so  that 
quotations  and  metal  furniture,  graded  to  pica  ems, 'may  be  used  to  advan¬ 
tage  when  making  up  the  pages.  Side-notes  always  occupy  the  outer  or 
cut  margins  of  pages,  and  are  principally  used  in  legal  and  other  works 
of  reference.  Cut-in  notes  are  those  that  are  let  into  the  text,  and  are 
generally  placed  opposite  the  lines  they  refer  to.  Nice  care  is  required  to 
arrange,  space,  and  justify  them  right.  They  must  not  interfere  or  come 
in  contaCt  with  the  subject  matter,  but  be  somewhat  detached  from  it,  yet 
show  they  belong  to  it.  It  is  best  to  frame  them  in  with  accurately  cut 
nonpareil  slugs  and  leads,  which  will  keep  the  notes  at  a  uniform  distance 
from  the  subject  matter,  and,  at  the  same  time,  permit  them  to  hold  their 
proper  positions  opposite  the  lines  or  paragraphs  they  indicate. 

When  items  of  an  index  refer  to  matter  occupying  several  consecutive 
pages,  the  first  and  last  folios  only  are  given,  divided  by  an  en-dash. 
thus:  16-19;  but  when  pages  are  not  consecutive,  they  are  all  given,  with 
commas  between  them,  thus:  2,  5,  6.  Figures  used  in  columns,  or  justified 
at  the  end  of  index  lines,  have  no  periods  after  them.  When  items  or 
paragraphs  terminate  with,  folios  or  other  figures  that  occur  regularly, 
they  should  be  carried  nearly  as  far  as  to  where  the  figure  columns  begin 
— not  interfering  with  the  latter,  but  squarely  justified  to  within  say  an 
em-quad  of  the  first  figure  line. 

When  a  column  is  so  narrow  as  to  necessitate  setting  the  head -lines 
lengthwise,  or  up  and  down  the  column,  it  is  customary  to  have  them  read 
from  the  bottom  toward  the  top  of  the  space  allotted  to  them,  and  to  line 
along  the  lower  or  commencement  end. 

Rules  that  divide  columns,  when  separated  from  the  matter  on  either 
side  of  them  with  one  or  two  six-to-pica  leads,  give  a  freer  and  neater 
appearance  to  such  work. 

Length-rules  for  table  composition  should  be  cut  exactly,  and  if  two  or 
more  pieces  are  used  in  a  length,  the  joints  dressed  smoothly  and  evenly. 

A  number  of  columns  belonging  to  the  same  table,  in  which  figures 
of  the  same  body  only  are  employed,  may  be  set  at  one  time  and  the 
dividing  rules  inserted  afterwards;  but,  when  words  are  in  some  columns 
and  figures  in  others,  it  is  best  to  set  each  column  separately. 

The  explanatory  headings  of  tables  are  neatest  when  set  in  type  smaller 
than  the  column  figures  or  matter.  They  should,  however,  be  quite  dis¬ 
tinct,  so  as  to  be  easily  read.  Fancy  type  can  rarely  be  used  to  advantage 
for  table  headings. 

A  word  that  requires  division  at  the  end  of  a  line  of  type  should  retain 
the  full  strength  of  the  first  syllable,  or  first  and  second  syllables,  in  the 
first  line,  and  be  divided,  according  to  its  length  and  construction,  as  near 
the  centre  as  may  be.  Such  words  as  i-dle,  a-bout ,  o-ver,  etc.,  are  never 
divided,  nor  are  terminating  syllables  like  -ed  in  compounded ,  -ty  in  variety , 
to  the  second  line.  Where  a  syllable  is  c 


On  Z.  e  1 1  e  r  p  r  e  s  s 


Com  position. 


vowel,  like  the  second  ones  in  elc- gance,  perse-ve ranee,  division,  etc.,  it  is 
customary  to  make  it  the  place  of  division,  although  it  would  be  improper 
to  do  so  on  the  first  syllable  in  such  a  word  as  e-ternity. 

Our  space  is  too  prescribed  to  give  further  remarks  upon  the  subject  of 
dividing  words  in  composition;  but  observation  of  general  usage  in  this 
respeeft,  shown  in  well-composed  books,  etc.,  will  soon  set  the  novice  right. 

Although  information  regarding  punctuation  is  important  to  composi¬ 
tors,  it  cannot  be  properly  entered  upon  herein  for  want  of  room.  We 
take  pleasure,  therefore,  in  referring  the  reader  to  a  very  comprehensive 
work  upon  the  subject — Mr.  John  Wilson’s  “  Treatise  on  English 
Pmidtuation" — to  be  had  of  most  type-founders  and  booksellers. 


PROVING  AND  CORRECTING. 

Composition  proved  on  brass  galleys  should  have  a  single  iron  or  other 
side-stick  fully  as  long  as  the  matter;  and  when  the  quoins  are  well  pressed 
up  with  the  fingers,  the  lock-up  should  be  sufficient  to  keep  the  matter  tight 
enough  to  prove.  Driving  up  quoins  with  a  mallet  and  shooting-stick  in 
galley  lock-ups  soon  shatters  the  galley. 

Before  planing  down  galleys  or  forms  in  chases,  wipe  off  the  planer 
with  the  hand,  and  then  lay  it  flatly  and  gently  upon  the  faces  of  the  type. 
Tap  it  lightly  with  a  small  mallet  or  the  butt  of  an  iron  shooting-stick, 
taking  care  that  there  shall  be  no  double  strokes  or  rebound  of  the  planer. 
Scripts,  hair-lines,  and  other  delicately  formed  letters,  should  always  be 
pressed  down  with  the  fingers,  and  planed  very  lightly  if  at  all.  Heavy 
planing  is  not  necessary  in  any  case  if  the  type  is  set  and  made  up  properly 
in  the  first  place;  and  it  is  always  hurtful  to  the  material  to  indulge  in  the 
cooper-like  “rattle  and  bang”  one  sometimes  hears  in  offices  where  the 
durability  of  material  seems  to  be  ignored. 

In  proving  tjqie,  either  on  galleys  or  in  chases,  it  should  be  inked 
with  a  roller  that  is  free  from  dirt  or  dried  ink.  Paper  slightly  dampened 
and  kept  from  the  air  between  boards  is  best  for  proofs,  as  it  will  take  the 
ink  with  a  much  lighter  impression  than  dry  paper.  Proving  by  the 
brush  or  planer  is  bad  for  the  fine  lines  of  type.  Several  thicknesses  of 
damp  paper  laid  on  the  type,  and  a  thin,  fine  cloth  blanket  on  top  of  the 
paper,  before  “beating  off,”  will  cause  the  least  damage;  but  only  careful 
persons  ought  to  be  allowed  to  perform  this  kind  of  proving  where  it  can 
not  be  otherwise  avoided. 

When  correcting  lines  of  type  that  contain  errors,  lift  them  up  by  the 
ends,  and  take  out  the  wrong  letter  or  word  with  the  fingers.  Never  stick 
bodkins  or  knives  between  words  to  get  them  out,  nor  use  the  spring- 
bodkin  to  pull  out  a  letter.  Prying  out  a  letter  or  space  by  sticking  the 
point  of  a  bodkin  in  it  is  simply  outrageous.  If  an  alteration  is  to  be  made 
in  spacing  or  phraseology,  take  out  the  lines  and  adjust  them  in  the  stick. 
It  is  a  slovenly  and  unworkmanlike  habit  to  strew  the  stone  and  furniture 
of  a  form  with  the  debris  of  correction.  All  changes  marked  in  the  proof 
that  involve  re-spacing  or  overrunning,  should  always  be  made  at  the  case. 

—  28- 


On  Letterpress  Composition. 


PROOF  READER  S  MARKS. 

The  following  useful  table  of  typographical  proof  marks  is  taken  from 
Mr.  Trios.  MacKellar’s  excellent  work  on  typography,  “  77i e  A merican 
Printer published  by  Messrs.  MacKellar,  Smiths  &  Jordan,  the  well- 
known  and  popular  type-founders  of  Philadelphia.  We  have  reversed 
the  order  of  Mr.  MacKellar’s  “  Explanation”  for  our  own  convenience  in 
imposing  pages  30  and  31 : 

EXPLANATION  OF  THE  MARKS  ON  PAGE  30. 

A  wrong  letter  in  a  word  is  noted  by  drawing  a  short  perpendicular  line  through  it,  and 
making  another  short  line  in  the  margin,  behind  which  the  right  letter  is  placed.  (  See  No.  i.) 
In  this  manner  whole  words  are  corre<5ted,  by  drawing  a  line  across  the  wrong  word,  and  making 
the  right  one  in  the  margin  opposite. 

A  turned  letter  is  noted  by  drawing  a  line  through  it,  and  writing  the  mark  No.  2  in  the 
margin. 

If  letters  or  words  require  to  be  altered  from  one  character  to  another,  a  parallel  line  or  lines 
must  be  made  underneath  the  word  or  letter, — viz.  for  capitals,  three  lines  ;  small  capitals,  two 
lines  ;  and  Italic,  one  line ;  and  in  the  margin  opposite  the  line  where  the  alteration  occurs,  Caps, 
Small  Caps,  or  Ital.  must  be  written.  (See  No  3.) 

When  letters  or  words  are  set  double,  or  are  required  to  be  taken  out,  a  line  is  drawn  through 
the  superfluous  word  or  letter,  and  the  mark  No.  4  placed  opposite  in  the  margin. 

Where  the  punctuation  requires  to  be  altered,  the  correct  point,  marked  in  the  margin, 
should  be  encircled.  (See  No.  5.) 

When  a  space  is  omitted  between  two  words  or  letters  which  should  be  separated,  a  caret 
must  be  made  where  the  separation  ought  to  be,  and  the  sign  No.  6  placed  opposite  in  the  margin. 

No.  7  describes  the  manner  in  which  the  hyphen  and  ellipsis  line  are  marked. 

When  a  letter  has  been  omitted,  a  caret  is  put  at  the  place  of  omission,  and  the  letter  marked 
as  No.  8. 

Where  letters  that  should  be  joined  are  separated,  or  where  a  line  is  too  widely  spaced,  the 
mark  No.  9  must  be  placed  under  them,  and  the  correction  denoted  by  the  marks  in  the  margin. 

Where  a  new  paragraph  is  required,  a  quadrangle  is  drawn  in  the  margin,  and  a  caret  placed 
at  the  beginning  of  the  sentence.  (  See  No.  10.) 

No.  11  shows  the  way  in  which  the  apostrophe,  inverted  commas,  the  star  and  other  refer¬ 
ences,  and  superior  letters  and  figures,  are  marked. 

Where  two  words  are  transposed,  a  line  is  drawn  over  one  word  and  below  the  other,  and 
the  mark  No.  12  placed  in  the  margin  ;  but  where  several  words  require  to  be  transposed,  their 
right  order  is  signified  by  a  figure  placed  over  each  word,  and  the  mark  No.  12  in  the  margin. 

Where  words  have  been  struck  out  that  have  afterward  been  approved  of.  dots  should  be 
marked  under  them,  and  Stet  written  in  the  margin.  (See  No.  13.) 

Where  a  space  sticks  up  between  two  words,  a  horizontal  line  is  drawn  under  it,  and  the 
mark  No.  14  placed  opposite  in  the  margin. 

Where  several  words  have  been  left  out,  they  are  transcribed  at  the  bottom  of  the  page,  and 
a  line  drawn  from  the  place  of  omission  to  the  written  words  (see  No.  15)  ;  but  if  the  omitted 
matter  is  too  extensive  to  be  copied  at  the  foot  of  the  page.  Out ,  see  copy ,  is  written  in  the  margin, 
and  the  missing  lines  are  enclosed  between  brackets,  and  the  word  Out  is  inserted  in  the  margin 
of  the  copy. 

Where  letters  stand  crooked,  they  are  noted  by  a  line  (  see  No.  16  )  ;  but  where  a  page  hangs, 
lines  are  drawn  across  the  entire  part  afifedled. 

When  a  smaller  or  larger  letter  of  a  different  fount  is  improperly  introduced  into  the  page,  it 
is  noted  by  the  mark  No.  17,  which  signifies  wrong  fount. 

If  a  paragraph  is  improperly  made,  a  line  is  drawn  from  the  broken-off  matter  to  the  next 
paragraph,  and  No  written  in  the  margin.  ( See  No.  18.) 

Where  a  word  has  been  left  out  or  is  to  be  added,  a  caret  must  be  made  in  the  place  where  it 
should  come  in,  and  the  word  written  in  the  margin.  ( See  No.  19.) 

Where  a  faulty  letter  appears,  it  is  marked  by  making  a  cross  under  it,  and  placing  a  similar 
one  in  the  margin  (  see  No.  20)  ;  though  some  prefer  to  draw  a  perpendicular  line  through  it,  as 
in  the  case  of  a  wrong  letter. 


On  Letterpress  Composition. 


MARKED  PROOF  SHEET. 

j  Though  several  differing  opinions  exist  as  to 
the  individual  by  wj(om  the  art  of  printing  was  * 
first  discovered ;  yet  all  authorities  concur  in 
admitting  Peter  Schoeffer  to  be  the  person  3 


who  invented  cast  metal  types,  having  learned 
the  art  -ef-  of  cutting  the  letters  from  the  Gut- 


6  -  J  tembergs^  he  is  also  supposed  to  have  been 
c  $  the  first  whoengraved  on  copperplates.  rfhe  7  [  -  j 


9  w  by  Jo.  ^Fred.^Faustus,^of^Ascheffenburg  : 
1(Q  >‘  Peter  Schoeffer,  of  Gernsheim,  perceiving 


Ji  \J  his  master  Fausts  design,  and  being  himself 


out  (by  the  good  providence  of  God)  the 


13 

method  of  cutting  (ineidendi)  the  characters  eitet. 


in  a  matrix,  that  the  letters  might  easily  be 


30  — 


CORRECTED  PROOF  SHEET. 


Though  several  differing  opinions  exist  as  to 
the  individual  by  whom  the  art  of  printing  was 
first  discovered  ;  yet  all  authorities  concur  in 
admitting  PETER  SCIIOEFFER  to  be  the 
person  who  invented  cast  metal  types,  having 
learned  the  art  of  cutting  the  letters  from  the 
Guttembergs :  he  is  also  supposed  to  have  been 
the  first  who  engraved  on  copper-plates.  The 
following  testimony  is  preserved  in  the  family, 
by  Jo.  Fred.  Faustus,  of  Asclieffenburg : 

‘  Peter  Schoeffer,  of  Gernsheim,  perceiv¬ 
ing  his  master  Faust’s  design,  and  being  him¬ 
self  ardently  desirous  to  improve  the  art,  found 
out  (by  the  good  providence  of  God)  the 
method  of  cutting  ( incidendi )  the  characters  in 
a  matrix,  that  the  letters  might  easily  be  singly 
cast,  instead  of  being  cut.  ITe  privately  cut 
matrices  for  the  whole  alphabet:  and  when  he 
showed  his  master  the  letters  cast  from  these 
matrices,  Faust  was  so  pleased  with  the  con¬ 
trivance,  that  he  promised  Peter  to  give  him 
his  only  daughter  Christina  in  marriage,  a 
promise  which  he  soon  after  performed.  But 
there  were  as  many  difficulties  at  first  with 
these  letters,  as  there  had  been  before  with 
wooden  ones,  the  metal  being  too  soft  to  sup¬ 
port  the  force  of  the  impression:  but  this  defect 
was  soon  remedied,  by  mixing  the  metal  with 
a  substance  which  sufficiently  hardened  it.’ 


—  -it  — 


On  Letterpress  Composition. 

- «  — 

DISTRIBUTION. 

Type  matter  that  has  been  printed  from,  and  is  not  likely  to  be  required 
again  immediately,  should  be  distributed  at  once;  or,  if  it  be  not  convenient 
to  do  so,  it  should  at  least  be  divested  of  leads  and  white-lines,  tied  up 
squarely  and  firmly,  and  placed  where  it  will  be  least  in  the  way  but  not 
forgotten. 

Matter  that  is  to  be  distributed  immediately  needs  to  be  wetted  by 
means  of  a  sponge  containing  clean  water,  unless  the  type  be  large  and 
easily  handled,  when  wetting  will  not  be  necessary.  Take  just  enough 
type  in  the  hand  so  it  maybe  comfortable  and  easily  handled.  The  matter 
should  rest  on  a  stout  slug  or  brass  rule,  and  be  held  firmly  between  the 
inside  of  the  thumb  and  first  two  fingers  of  the  left  hand.  Acquire  the 
habit  of  taking  oft"  entire  words  in  distributing,  and  lightly  lay  the  letters 
lengthwise  in  their  respective  boxes  and  with  the  faces  toward  you.  Never 
“  pepper”  them  into  the  case  sharply,  without  regard  to  how  they  fall,  as 
it  injures  them,  and  makes  future  composition  less  easy  than  the  better 
method. 

IMPOSING  AND  LOCKING  UP. 

Forms  for  most  kinds  of  job  printing  are  usually  imposed  with  the 
head  toward  the  workman,  and  locked  up  in  the  centre  of  the  chase  each 
way.  The  straight  furniture  should  be  placed  at  the  head  and  left  side  of 
the  form  as  it  lies  on  the  stone.  The  beveled  side  and  foot  pieces  should 
be  long  enough  to  brace  every  part  without  binding  upon  each  other.  The 
quoins — which  should  be  two  to  three  in  number  each  way — need  to  be 
first  fitted  in  tightly  with  the  fingers;  but  not  so  tight  as  to  require  great 
force  to  get  them  in  place.  After  pressing  the  quoins  well  up  toward 
their  final  places,  plane  the  form  gently,  and  then  proceed  to  complete  the 
lock-up  by  using  the  mallet  and  shooting-stick,  striking  the  quoins  at  side 
and  bottom  alike.  Lock  up  by  degrees,  in  about  two  or  three  operations, 
graduating  them  according  to  the  size  of  the  form.  Always  commence  the 
lock-up  by  first  striking  the  smallest  quoins  at  side  and  bottom  alternately; 
then  the  next  in  size,  and  so  on,  till  all  have  been  tightened  sufficiently  to 
keep  the  matter  of  the  form  compactly  together,  so  that  it  will  “  lift  ”  and 
admit  of  being  moved  without  danger  of  falling  apart.  Raise  the  form  a 
little  before  taking  it  off  the  stone,  to  see  if  any  type  are  loose. 

After  a  form  is  properly  locked  up^  the  bottoms  of  the  type  should  be 
brushed  off  with  a  clean,  stiff  brush,  to  remove  any  small  particles  of  lead, 
dirt,  or  paper  that  may  have  got  on  them  accidentally. 

A  form  of  pages  locked  up  in  sedtions  is  merely  a  grouping  of  single 
forms,  and  involves  the  same  principles  in  locking  them  up,  only  the  heads 
all  go  toward  the  centre  or  cross-bars  of  the  chase.  The  diagrams  which 
follow  will  sufficiently  indicate  how  a  book  form  should  be  locked  up. 

In  unlocking,  commence  by  unloosing  the  top  and  bottom  quoins.  If 
a  quoin  sticks  tightly  from  having  swelled  when  wet,  it  may  be  unlocked 
with  ease  by  first  driving  it  up  or  tightening  it  a  little. 

—  32  — 


im 


On  Letterpress  Composition . 


IMPOSITION  OF  BOOK  PAGES. 

Limited  space  prevents  the  introduction  of  many  remarks  or  diagrams 
relating  to  book  imposition.  We  take  the  liberty,  however,  of  extracting 
a  few  useful  remarks,  etc.,  from  Mr.  George  H.  Bidwell’s  “ Treatise  on 
the  Imposition  of  Forms”  a  most  comprehensive  little  volume,  which  we 
cordially  commend  to  our  fellow-craftsmen: — 

A  knowledge  of  the  Imposition  of  Forms  is  an  essential,  if  not  an  indispensable,  element  in 
the  education  of  every  person  who  works  at  the  printing  business.  It  is,  indeed,  a  necessity  in 
every  book  and  job  printing  office ;  and  even  to  some  extent,  at  least,  in  every  office  where  only 
an  occasional  pamphlet  is  printed. 

Without  this  knowledge,  whatever  the  journeyman’s  skill  or  other  attainments,  he  cannot 
be  considered  a  thorough  master  of  his  business  ;  and  though  he  may  excel  in  some  specialty, 
there  will  be  this  important  branch  in  which  his  deficiency  may  be  a  bar  to  the  advancement 
which  his  capabilities  would  otherwise  gain  for  him. 

Before  the  invention  of  stereotyping,  the  imposition  of  forms  belonged  exclusively  to  the 
composing  room  ;  and  it  was  incumbent  on  the  compositor  that  he  should  be  able  to  take  his 
turn  in  imposing  and  sending  forms  to  press.  But  since  the  general  introduction  of  the  stereo¬ 
typing  process,  this  duty  has  been  divided  between  the  compositor  and  pressman ;  and  though 
much  neglected  of  late  years  by  compositors,  a  knowledge  of  this  subject  is  equally  essential  to 
the  finished  workman  in  either  department. 

In  order  to  attain  a  good  knowledge  of  the  imposition  of  forms,  the  learner  should  know 
something  of  the  subsequent  process;  that  is,  of  the  manner  of  turning  the  sheet  on  the  press, 
and  of  folding  the  sheet  after  it  is  printed  ;  and  to  the  younger  portion  of  our  readers,  especially, 
an  explanation  of  the  few  technical  terms  which  will  be  used,  may  be  necessary. 

Explanation  of  Terms. 

First  is  the  page,  the  four  sides  of  which  we  denominate  the  head,  foot,  front,  and  back. 
The  head  is  that  part  which  stands  at  the  top  of  the  leaf  in  the  printed  book  ;  the  foot  at  the 
bottom  ;  the  front  at  the  outside,  either  on  the  right  or  left  as  the  book  lays  open  ;  and  the  back 
at  the  inside  or  between  the  two  pages.  Pages  are  also  said  to  back  when  printed  on  both  sides 
of  the  sheet.  The  front  of  the  odd  pages,  as  they  lay  in  the  form,  is  on  your  left  hand,  and  of 
the  even  pages,  on  your  right  hand,  standing  at  their  foot— reversed,  of  course,  from  what  they 
appear  on  the  printed  sheet  or  in  the  book.  The  back  is  on  the  opposite  side  of  each  page  from 
the  front.  The  folio,  or  number  of  the  page,  when  a  running  title  is  used,  is  placed  on  the 
outside  or  front  of  each  page. 

The  chase  is  the  oblong  iron  frame  in  which  the  pages  are  secured  for  printing.  It  has  two 
bars  dove-tailed  into  the  frame  in  the  center  each  way  and  crossing  each  other  at  right  angles, 
which  are  called  the  long  cross  and  the  short  cross. 

The  margin  is  the  space  put  between  the  pages  in  the  form,  so  as  to  bring  each  page  in  the 
right  position  on  the  leaf  of  the  printed  book. 

The  section  is  the  term  applied  to  the  sheet,  or  so  much  of  it  as  is  folded  up  together  and 
taken  in  at  one  stitch  by  the  binder.  If  you  dissedt  a  bound  volume,  you  will  find  it  made  up  of 
a  number  of  sections  consisting  of  leaves  laid  one  within  the  other,  each  sedtion  being  sewed 
through  the  back  and  fastened  to  cords  which  run  across  the  back  and  secure  the  cover.  Each 
leaf  of  the  section  contains  four  pages,  two  odd  and  two  even,  one  of  each  on  each  side.  The 
sedtion  may  be  made  of  as  many  leaves  as  you  like,  but  they  usually  consist  of  from  two  to  six, 
according  to  the  number  of  pages  you  desire  to  print  at  a  time.  More  than  six  leaves  in  a  sedtion, 
except  for  pamphlets  of  a  single  sedtion,  makes  a  clumsy  job  for  the  binder,  and  renders  him 
unable  to  bind  the  book  neatly  and  substantially. 

The  inset,  or  subsection,  is  that  portion  of  a  sheet  containing  the  middle  pages  of  the  sedtion, 
and  which  is  cut  off  and  folded  up  separately,  but  placed  within  the  center  of  the  main  sedtion  in 
binding.  The  inset  is  necessary  in  forms  which  have  an  odd  number  of  pages  in  one  diredtion, 
as  will  be  explained  hereafter. 


Register. — The  form  registers  when  the  pages  printed  on  one  side  of  the  sheet  are  exadtly 
on  the  back  of  those  on  the  other. 


O  n  Letterpress  Composition. 

- - o - 


The  signature  is  the  figure  placed  at  the  foot  of  the  first  page  of  each  form,  sedtion,  or 
subsedtion,  as  a  guide  to  the  binder.  The  letters  of  the  alphabet  were  formerly  used  for  signa¬ 
tures  ;  but  now  they  are  seldom  used,  except  in  works  designed  to  be  printed  in  different  forms, 
as  8vo  and  i2mo.  Then  double  signatures  are  required,  and  letters  are  used  for  one  set. 

The  running  title  is  the  line  placed  at  the  head  of  each  page,  denoting  either  the  title  of 
the  book,  "the  subjedt  of  the  chapter,  or  the  subjedl-matter  of  the  page. 


The  objedl  sought  in  all  impositions  is  to  so  arrange  the  pages  that  they  will  come  in  regular 
consecutive  order  when  the  sheet  is  folded,  and  the  proper  pages  face  and  back  each  other  in  the 
bound  book.  The  pages  that  back  are  the  odd  and  even  consecutively,  as  i,  2;  3,  4;  5,  6;  etc. 
Those  that  must  face  each  other  in  the  book  are  the  even  and  odd  consecutively,  as  2,  3;  4,  5  ; 
6,  7  ;  etc.  The  pages  are  backed  by  turning  the  sheet  after  it  is  printed  on  one  side,  and  printing 
it  on  the  other  side.  They  are  faced  by  the  process  of  folding  the  sheet  after  it  is  printed. 


O  n  Letterpress  Composition. 


The  First  Page.— The  Starting  Point. 

The  starting  point  in  all  impositions  which  are  called  regular,  is  to  lay  the  first  page  on  the 
corner  at  your  left  hand,  with  the  foot  of  the  page  toward  you.  The  first  page  of  every  form 
being  necessarily  an  odd  page,  you  will  have  the  front  of  the  page  on  your  left,  and  the  back  of  it 
on  your  right  hand. 

The  Invariable  Result. 

The  invariable  result  in  all  forms  of  a  single  sedtion,  or  in  all  sections,  of  whatever  number  of 
pages  the  form  or  sedtion  may  consist,  when  completed,  is,  that  the  last  page  stands  by  the  side  of 
the  first,  back  to  back  and  heads  on  a  line ;  the  second  and  next  to  the  last  in  the  same  position  ; 
the  third  and  third  from  the  last ;  and  so  on,  advancing  one  from  the  first  folio  and  receding  one 
from  the  last,  until  you  come  to  the  two  middle  pages,  which  are  in  the  4to  the  2d  and  3d  ;  in  the 
8vo,  the  4th  and  5th  ;  in  the  nmo,  the  6th  and  7th  ;  in  the  i6mo,  the  8th  and  9th  ;  in  the  24mo, 
the  12th  and  13th  ;  and  so  on.  The  knowledge  of  this  fadt  enables  you  to  complete  any  form  after 
one-half  of  the  pages  are  laid  down. 


The  Second  Page. — Turning  the  Sheet. 


Having  got  the  starting  point,  the  next  step  is  to  ascertain  whereto  place  the  second  page, 
so  that  when  the  sheet  is  turned  it  will  back  the  first.  In  order  to  place  the  second  page,  you 
must  know  how  the  sheet  is  to  be  turned  ;  and  here  it  may  be  necessary  to  remark,  that  the  paper 
being  longer  one  way  than  the  other,  it  is  almost  invariably  the  rule  to  turn  it  in  the  diredtion  of 
its  length,  because  in  most  forms  this  makes  a  more  convenient  form  for  the  binder  in  folding,  and 
the  sheet  is  registered  with  greater  facility  on  the  press,  particularly  on  the  hand  press.  Besides, 
turning  the  sheet  uniformly  the  same  way  is  a  convenience  to  the  pressman,  who  is  never  in  such 
a  case  at  a  loss  to  know  how  to  turn  it. 

The  i2mo  is  an  exception  to  this  rule,  and  must  necessarily  be  turned  in  the  direction  of  the 
width  of  the  sheet  and  of  the  pages,  because  in  the  diredtion  of  their  length  there  are  only  three 
pages;  and  if  turned  in  that  way,  the  middle  row  of  pages  would  not  only  back  themselves,  but 
would  back  head  to/ foot  on  opposite  sides  of  the  sheet. 

Rules  for  laying  Pages  that  back  each  other. 

When  the  sheet  turns  in  the  diredtion  of  the  length  of  the  pages,  as  in  the  i6mo,  the  pages 
that  back  each  other  must  be  placed  in  exadtly  corresponding  positions  on  opposite  sides  of  the 
bar,  head  to  head  or  foot  to  foot. 

When  the  sheet  turns  in  the  diredtion  of  the  width  of  the  pages,  as  in  the  8vo,  those  that  back 
must  be  placed  in  exadtly  corresponding  positions  on  opposite  sides  of  the  bar,  heads  on  a  line. 

What  is  meant  by  corresponding  positions  in  the  imposition  of  forms,  is,  that  the  pages  shall 
be  at  the  same  distance  from,  and  on  opposite  sides  of,  the  bar,  or  center  of  the  sheet,  in  a  right 
line.  Thus,  one  page  being  at  the  extreme  end  or  side  of  a  form,  another,  to  be  in  a  corresponding 
position,  must  be  at  the  opposite  extreme  end  or  side.  The  corresponding  position  is  shown  by  a 
printed  sheet  of  the  same  number  of  pages  laid  by  the  side  of  the  form.  ( See  page  34.) 

These  rules  enable  us  to  place  the  second  page  in  any  form  whatever,  and  to  lay  any  even 
numbered  page  after  the  odd  numbered  page  which  immediately  precedes  it  is  down  In  the 
i6mo  or  4to,  for  instance,  the  sheet  turning  in  the  diredtion  of  the  length  of  the  pages,  and  the 
first  page  being  laid  at  the  left  hand  lower  corner,  with  the  foot  toward  you,  the  second  page, 
backing  the  first,  must  necessarily  be  placed  at  the  left  hand  upper  corner,  with  the  head  toward 
you.  In  the  8vo  or  4to,  the  sheet  turning  in  the  diredtion  of  the  width  of  the  pages,  the  second 
page,  in  order  to  back  the  first,  must  be  placed  on  the  right  hand  lower  corner,  the  head  on  a 
line  with  the  first  page.  In  either  of  these  cases,  the  4to  may  now  be  completed  by  placing  3  by 
the  side  of  2,  and  4  by  the  side  of  1,  backs  together. 


No.  I. — THE  QUARTO — SHEET  TURNING  CROSSWISe  OF  THE  PAGES. 
Head. 


c 

2 


—  35  — 


On  Letterpress  Composition. 


1 


Rules  for  folding 
Sheet. 

When  there  is  but 
one  fold  in  a  sheet  or 
scdtion,  that  fold  must 
be  through  the  back. 
This  is  the  4to,  or  sec¬ 
tion  of  one  leaf. 

When  there  are  two 
folds,  the  first  is  be¬ 
tween  the  heads,  and 
the  second  through  the 
Z 


1 

back.  This  is  the 
8vo,  or  sedtion  of  two 
leaves. 

*  When  there  are  three  K 
folds,  the  first  is  at  the  (j 
front,  ( in  the  i6mo  at 
the  long  cross,  or  in  ;< 
the  full  sheet  8vo  at  f. 
the  short  cross,  of  the  (} 
inner  form,)  the  second  W 
between  the  heads,  and 
the  third  through  the 
back.  This  is  the  16- 
1 


mo,  or  sedlion  of  four 
leaves. 

When  there  are  four 
folds,  the  first  is  at  the 
foot,  (in  the  321x10  at 
the  long  cross,  or  in 
the  full  sheet  i6mo  at 
the  short  cross,  of  the 
inner  form,)  the  second 
at  the  front,  the  third 
between  the  heads, and 
the  fourth  through  the 
back.  This  is  the  32- 
8 


mo,  or  sedlion  of  eight 
leaves. 

Thus  you  perceive 
that  the  addition  of 
another  fold  to  the 
sheet  or  sedlion  does 
not  change  the  order 
or  position  of  the  suc¬ 
ceeding  folds,  the  last 
always  being  through  k 
the  back,  the  next  to 
the  last  between  the 
heads,  and  so  on. 


The  Third  Page — 
Folding  the 
Sheet. 

The  first  and  second 
pages,  which  back 
each  other,  being 
disposed  of,  we  must 
place  the  third  so 
that  when  the  sheet 
is  folded  it  will  face 
thesecond;  andhere, 
before  wecanproceed 
any  further,  we  must 
understand  the  pro¬ 
cess  of  folding.  To 
illustrate  this,  let  us 
take  the  i6mo  ;  tho’ 
what  is  said  on  this 
point  applies  equally 
well  to  all  simple 
forms.  You  will  no¬ 
tice  that  when  the 
sheet  is  turned,  the 
lower  or  outer  half 
is  printedon  thcback 
of  the  upper  or  inner 
half,  and  vice  versa. 
After  the  sheet  is 
printed  on  both  sides 
it  is  cut  in  two  trans¬ 
versely  to  the  direct¬ 
ion  in  which  it  is 
turned  ;  that  is,  if  it 
is  turned  in  the  di¬ 
rection  of  the  long 
cross,  it  must  be  cut 
attheshortcross,and 
vice  versa  ;  and  you 
have  a  duplicate  of 
the  form,  or  all  the 
pages  in  the  form  on 

No.  2. — THE  QUARTO— SHEET  TURNING  LENGTHWISE  OF  THE  PAGES.  each  half  sheet. 

The  outer  half  of  a  form  or  sedlion  is  the  half  which  contains  the  first  or  signature  page  ;  and 
the  inner  half  that  which  contains  the  second  page.  When  the  sheet  is  laid  on  the  table  ready 
for  folding,  the  outer  half  is  on  the  under  side,  with  the  signature  at  the  left  hand,  and  of  course 
the  inner  half  is  on  the  upper  side,  all  the  pages  of  which  will  be  faced  by  the  first  fold;  all  the 
remaining  folds,  be  they  more  or  less,  being  required  to  face  the  pages  of  the  outer  half. 


The  Fourth  Page.— The  8vo  Completed. 

Page  4,  backing  the  third,  must  be  placed  in  an  exadlly  corresponding  position  cn  the 
opposite  side  of  the  bar;  head  to  head  in  the  i6mo,  and  head  on  a  line  with  3  in  the  8vo,  the 
sheet  in  these  forms  turning  in  different  relations  with  respedl  to  the  length  or  width  of  the  pages. 
This  enables  you  to  complete  the  8vo,  applying  the  rule  already  stated  at  the  starting  point  by 
placing  5  by  the  side  of  4 ;  6  by  the  side  of  3 ;  7  by  the  side  of  2 ;  and  8  by  the  side  of  1,  backs 
together.  (See  Diagram  No.  3.) 

-  36  - 


r 


M  .  .. 

On  Letterpress  Composition. 


The  Fifth  Page— 
The  Second 
Fold. 

We  have  now  the 
four  corners  of  the 
form  of  16s  filled. 
Page  4,  backing  3, 
and  being  on  the 
outer  or  under  side 
of  the  sheet  as  it  lies 
on  the  folder’s  table, 
the  first  fold  brings 
it  to  the  upper  side ; 
and  as  4  (being  one- 
fourth  of  the  whole 
number  in  the  form) 
must  be  faced  by  the 
second  fold  in  a  form 
having  three  folds, — 
which  is  the  case 
with  the  i6mo, — and 
as  the  second  fold 
must  be  between  the 
heads  in  order  to 
face  4  and  5,  you 
must  place  5  head 
to  head  with  4. 


The  Sixth  Page,  ^  = 


backing  5,  must  be 
on  the  opposite  side 
of  the  bar;  and  as  the 
foot  of  5  is  toward 
the  bar,  the  foot  of  6 
must  also  be  toward 
the  bar,  which  will 
bring  it  head  to  head 
with  3. 


No.  3. — THE  REGULAR  OCTAVO — SHEET  TURNING  CROSSWISE  OF  THE  PAGES. 

The  Seventh  Page. 

Page  6  being  head  to  head  with  3,  and  being  in  the  inner  half  of  the  form,  and  embraced  in 
the  same  fold  ( through  the  long  cross )  which  faces  2  and  3,  7,  in  order  to  face  6,  must  be  placed 
in  the  same  relative  position  to  2  that  6  is  to  3 ;  that  is,  head  to  head. 

The  Eighth  Page. — The  i6mo  Completed. 

The  eighth  page,  backing  7,  must  be  placed  on  the  opposite  side  of  the  bar,  foot  to  foot  with 
7,  which  brings  it  head  to  head  with  1.  Applying  the  same  rule  as  in  the  completion  of  the  8vo, 
the  form  of  16s  may  now  be  filled  up  by  placing  9  at  the  side  of  8  ;  10  at  the  side  of  7  ;  11  at  the 
side  of  6 ;  12  at  the  side  of  5  ;  13  at  the  side  of  4  ;  14  at  the  side  of  3 ;  15  at  the  side  of  2  ;  and  16 
at  the  side  of  1,  backs  together.  (  See  Diagram  No.  4.) 

Here  you  have,  by  examining  the  diagram,  an  illustration  of  the  fundamental  rule  which 
applies  in  every  form  or  in  every  section,  whatever  number  of  pages  the  form  or  section  may 
contain ;  the  first  and  last  pages  standing  side  by  side,  backs  together ;  the  second  and  next  to 
the  last;  and  so  on.  This  law  in  relation  to  the  position  of  the  pages  you. can  not  impress  upon 


On 


Lette  r  p  ress 


C o  inp  os  it  i o  n  . 


~V 


your  minds  too  firm¬ 
ly;  because,  though 
you  may  vary  the 
imposition  in  other 
respe<5ts  to  suit  the 
exigencies  of  the 
case,  this  is  uncom¬ 
promising,  and,  un¬ 
less  your  form  is 
obedient  to  it,  it 
must  be  wrong.  (See 
page  34-) 


The  Form  of  12s. 

This  form  is  an  ex¬ 
ceptional  one,  and 
has  usually  been 
considered  as  be¬ 
longing  to  a  mongrel 
race.  In  some  res¬ 
pects  it  is  peculiar, 
yet  in  its  imposition 
it  is  subject  to  the 
same  general  laws 
which  govern  other 
impositions.  Having 
an  odd  number  of 
pages  in  one  direct¬ 
ion,  the  application 
of  those  laws  must 
be  varied  in  some 
particulars  to  meet 
this  peculiarity, 
which  gives  rise  to 
the  necessity  of  an 
inset. 

Peculiarities  of 
the  i2mo. 

The  first  variation 
from  the  construct¬ 
ion  of  other  forms, 
is  the  removal  of  the 
short  cross  from  the 
center  of  the  chase 
to  a  position  about 
one-third  the  dis¬ 
tance  toward  one 
end,  leaving  ^boOt 
two-thirds  the  length 
of  the  chase  on  one 
side  of  it,  the  long 
cross  remaining  in 
the  center.  Though 
when  the  sheet  is 
folded  up  ready  for 
insertion  in  the 
book,  it  contains  but 
one  section;  yet 


No.  5. — REGULAR  FORM  OF  I2S — SHEET  TURNING  CROSSWISE  OF  THE  PAGES. 


(  No.  8.) 


\ 


On  Letterpress  Composition. 


in  the  process  of  folding,  that  sedlion  is  subdivided  and  folded  in  two  parts,  which  are  placed 
one  within  the  other  to  make  the  se<5tion  complete.  The  main  portion  of  the  section,  consisting 
of  eight  pages,  occupies  the  larger  division  of  the  chase  on  one  side  of  the  short  cross,  and  the 
inset,  or  subsedtion,  the  smaller  division  on  the  other. 

The  next  variation  is  the  necessity  of  turning  the  sheet  in  the  direction  of  its  width.  Any 
simple  form  above  the  4to  may  be  imposed  so  that  the  sheet  will  turn  and  back  correbtly  either 
way,  though,  as  already  stated,  it  is  usual  for  convenience  to  turn  it  in  the  direction  of  its  length. 

The  third  and  last  variation  is,  that  although  when  the  form  is  completed  the  pages  that 
face  and  back  each  other  in  each  subdivision  of  the  sedtion,  when  folded  up  separately,  occupy 
precisely  the  same  relative  positions  as  in  simple  forms,  the  pages  do  not  follow  in  the  imposition 
in  consecutive  order  as  in  those  forms.  The  inset  occupying  the  middle  place  in  the  complete 
.sedHon,  and  being  cut  off  from  the  main  sedtion  after  the  sheet  is  printed,  and  folded  up  separately, 
in  imposing  the  form  we  must  omit  from  the  middle  of  the  main  sedlion  as  many  pages  as  are 
contained  in  the  inset  or  subsedtion,  and  lay  the  omitted  pages  in  the  smaller  division  of  the 
chase,  substituting  in  their  place  pages  whose  folios  are  increased  by  the  number  of  which  the 
inset  consists,  which  in  this  form  would  be  four. 


The  Margin  of  the  Form. 

In  making  up  the  margin  of  the  form,  the  first  step  is,  before  removing  the  strings,  to  place 
the  pages  as  nearly  in  their  proper  positions  in  the  chase  as  possible.  Take  a  sheet  of  the  paper, 
or  of  the  size  of  the  paper  on  which  the  form  is  to  be  printed,  fold  it  at  the  short  cross,  and 
measure  from  the  inside  or  foot  of  the  page  next  to  that  cross  to  the  outside  or  foot  of  the  outside 
page  on  the  opposite  side  of  that  cross  :  the  distance  between  these  points  should  be  just  one- 
half  the  length  of  the  sheet.  Then  fold  the  sheet  again  in  the  opposite  direction,  and  apply  the 
same  process  to  the  inside  and  outside  pages  on  opposite  sides  of  the  long  cross :  the  distance 
between  these  points  should  be  just  one-half  the  width  of  the  sheet.  In  the  i8mo  form  or  36s,  the 
sheet  should  be  folded  into  one-third  instead  of  half  its  width,  taking  the  measurement  from  the 
front  of  the  outside  page  to  the  front  of  the  second  page  from  it,  so  as  to  include  one  front  and  one 
back  margin.  If  the  measurement  is  made  from  the  page  at  the  long  cross  to  the  outside  of  the 
form,  it  will  include  one  front  and  two  back  margins,  and  the  proper  proportions  between  the  two 
will  not  be  maintained.  Then  adjust  the  pages  of  one-quarter  of  the  form  so  that  the  head  and 
back  margin  will  be  equal,  and  the  front  and  foot  margin  equal,  but  rather  more  than  the  head 
and  back  margin.  It  is  impossible  to  give  any  precise  rules  which  will  apply  to  all  forms.  Much 
depends  upon  fixing  the  size  of  the  page  to  suit  the  paper  before  the  pages  come  into  the  form. 
But  in  ordinary  forms,  say  of  8vo  or  i2mo,  with  the  usual  margin,  the  difference  between  the  head 
and  foot  margin  should  be  about  three-eighths  of  an  inch  ;  and  the  same  difference  between  the 
front  and  back  margin.  This  proportion  should  be  increased  or  decreased  as  the  amount  of  margin 
in  the  book  is  increased  or  decreased.  This  would  place  the  page  in  the  printed  book  a  little 
nearer  the  head  than  the  foot,  and  a  little  nearer  the  back  than  the  front.  The  furniture  may 
now  be  adjusted  around  the  pages  of  this  quarter  and  the  strings  removed;  and  if  found,  upon 
measurement  again  as  before,  to  be  corredl,  the  same  furniture  may  be  placed  around  the  pages 
of  the  other  quarters.  Since  the  introduction  of  metal  furniture,  the  process  of  making  margin  is 
much  simplified  and  facilitated  by  the  ready  adjustment  of  the  different  sized  pieces.  It  is  quite 
as  well,  and  even  more  convenient  after  a  little  practice,  to  use  a  measuring  rule  instead  of  the 
sheet  of  paper,  in  adjusting  the  margin  of  forms. 

Registering  the  Form. 


Having  adjusted  the  margin  of  the  form,  and  got  it  ready  to  lock  up  for  press,  it  is  the  business 
of  the  one  who  sends  it  to  press  to  see  that  it  is  properly  registered  ;  that  is,  that  the  pages  are  in 
a  position  in  the  form,  that  when  the  sheet  is  printed  on  both  sides  each  page  will  back  its  proper 
page  perfectly.  This  is  not  a  difficult  process  where  the  compositor  and  maker-up  have  done 
their  duty.  It  consists  simply  of  careful  locking  up.  But  where  you  have,  as  sometimes  happens, 
careless  compositors  on  the  work,  the  one  who  undertakes  to  send  a  form  to  press  should  be  more 
than  ordinarily  careful. 

A  veiy  small  thing  sometimes  throws  a  form  out  of  register,  and  destroys  the  beauty  of  the 
printed  page.  As,  for  example,  spaces  of  a  larger  size  than  the  type  used;  leads  of  unequal 
thickness ;  letters  slipping  by  the  leads  at  the  end  of  the  lines ;  lines  spaced  too  tightly ;  the 
omission  or  addition  of  a  lead  at  the  foot  of  the  page ;  or  locking  up  one  side  of  the  form  first. 
All  these  things  are  to  be  carefully  looked  after  and  guarded  against. 


J*S 


—  39— 


On  Letterpress  Composition . 


The  register  of  the  form  is  perfedt  when  not  only  the  heads  and  sides  range  exadtly,  but 
when  the  lines  of  the  pages  also  range  exactly.  Works  printed  on  large  type  and  widely  leaded, 
especially,  are  defective  unless  this  result  is  attained. 

The  composition  of  the  pages  may  be  perfedt  and  yet  not  register  on  the  press,  unless  the 
form  is  carefully  and  properly  locked  up.  To  lock  up  the  form  properly,  you  should  begin  by 
starting  gently  the  quoins  next  the  bars  all  around,  then  those  next  to  them,  and  so  on,  until  you 
reach  the  lower  quoins,  so  that  all  parts  of  the  form  will  be  subjedt  to  equal  pressure  in  every 
diredtion. 

If  one  side  or  end  of  the  form  is  locked  tight  before  the  other  parts,  the  result  will  be  that  the 
bars  will  spring,  the  pages  will  be  brought  to  their  position  in  one  diredtion  and  out  of  place  in 
the  other,  and  will  consequently  be  all  awry  when  the  pressure  is  applied  in  the  other  diredtion. 
But,  by  the  mode  suggested,  the  pressure  is  first  applied  at  the  angles  of  the  cross-bars,  equally 
from  the  sides  and  ends  of  the  chase,  and  is  gradually  brought  outward  toward  the  corners  until 
it  reaches  the  extremities  of  the  form. 


J^arpel’s  Jypograph. 


8vo. 

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COMPLETE  TABLE  OF  SIGNATURES. 


-o  H  A  R  P  E  L>  S  TYPOGRA  PH.o- 


PATENT  DOUBLE  STANO  OR  CABINET,  FOR  TV/O  LENGTHS  OF  CASES  AND  GALLEY  REST. 


PATENT  DOUBLE  STAND  OR  CABINET,  WITH  GALLEY  REST  AND  LETTER  BOARDS. 


H  A  SPEL'S  T  Y  FOGS  A  P  H  . 


TRIPPLE  CASE. 


HARPEL’S  T  Y  P  O  GRAPH.— 


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ARRANGEMENT  OF  AMERICAN  UPPER  CASE. 


When  upper  cases  are  used  for  job  letters  points  should  be  laid  in  first  row  of  boxes  above  capitals,  as  follows  : 


ffi 

fl 

5-em  4-em 
space,  space. 

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1  2 

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3-em  space. 

a 

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2-  and  3  era 
quadrates. 

q 

- 

ARRANGEMENT  OF  AMERICAN  LOWER  CASE. 


lthough  the  work  of  the  Press  Department  of  a  printing  office  is 
1  necessarily  more  mechanical  in  its  operations  than  that  of  the  Com- 
“Deposing  Room,  its  careful  rendition  entitles  it,  without  doubt,  to  a 
Marge  share  of  the  honors  attendant  upon  completed  typography. 
o)  6  Critical  and  conscientious  work-people;  properly  constructed 
press  machinery;  elastic,  adhesive,  even-faced  and  clean  rollers;  intelli¬ 
gently  prepared  and  brilliant  inks;  paper  or  card  stock  of  smooth  surfaces, 
close  texture,  and  moderately  soft  bodies;  are  all  among  the  positively 
necessary  auxiliaries  wherewith  to  accomplish  the  results  that  gratify  the 
lovers  of  elegant  printing,  and  entitles  typography  to  a  place  among  the 
arts.  On  the  other  hand,  a  slovenly,  heedless,  unintelligent  pressman, 
whose  implements  are  to  him  matters  of  no  particular  concern,  and  who 
merely  aims  to  get  rid  of  his  work  without  regard  to  its  proper  execution,  is 
at  best  a  mere  time-server,  with  but  little  prospedl  of  occupying  a  higher 
position. 

PRINTING  MACHINERY. 


Presses  of  every  kind,  no  matter  how  excellent,  must  be  well  set  up 
and  accurately  adjusted.  They  must  receive  constant  attention  as  to  their 
cleanliness  and  repair,  if  the  best  performance  is  expedted  of  them.  They 
must  be  regularly  and  frequently  oiled.  Pure  sperm  oil,  notwithstanding 
its  expensiveness,  is  always  to  be  preferred  for  presses.  The  best  winter 
strained  lard  oil  is  also  good  when  free  from  salt  or  acids  of  any  kind. 
Crude,  impure  oils,  containing  animal  or  vegetable  refuse,  are  not  to  be 
thought  of.  Patent  “  lubricators  ”  may  do  well  enough  for  coarse  and 
unimportant  machinery  ;  but,  before  being  employed  on  fine  printing 
presses,  they  should  be  subjected  to  rigid  investigation,  as  a  majority  of 
them  are  gummy  and  filthy  after  continued  use,  and  some  of  them  are 
positively  injurious  to  machinery  that  must  move  constantly  and  rapidly. 


ROLLERS. 

A  good  roller  is  moderately  soft  to  the  touch,  yet  perfectly  elastic  and 
strong  in  texture.  If  made  properly,  it  will  shrink  but  little,  and  last  a  long 
time.  But,  washing  rollers  with  strong  lye;  allowing  them  to  be  much 
exposed  to  the  atmosphere  when  not  at  work;  and  other  indifferent  treat¬ 
ment,  soon  makes  them  useless;  while  their  frequent  renewal  becomes  a 
heavy  item  of  expense. 

It  is  an  injurious  practice  to  wash  rollers  too  much.  Nevertheless 
when  it  is  necessary  to  clean  them,  it  should  be  done  thoroughly.  Cam- 


VI 


—  41  — 


The  Press  Room. 

- o - 

phene  or  benzine  and  a  soft,  well-washed  sponge  will  accomplish  this  in  an 
effectual  manner,  entirely  detaching  the  oil  and  pigment  of  the  ink  if  pro¬ 
perly  used.  After  washing  with  benzine,  however,  the  face  of  the  roller 
comes  up  better  if  it  is  well-wiped  with  another  clean  sponge  containing 
a  little  water, — just  sufficient  to  make  the  roller  slightly  wet  during  the 
operation.  Remember,  always,  that  strong  alkaline  washes  soon  destroy 
the  face  and  sudtion  of  rollers  if  freely  used  in  cleansing  them. 

Soft,  thin  ink  left  on  rollers  overnight,  and  having  them  carefully  washed 
in  the  morning  before  working  them,  will  preserve  them  longer  in  cold 
weather  than  if  put  away  clean.  Pans  of  water  placed  at  the  bottom  of  a 
closet  containing  rollers,  are  also  conducive  to  their  well-being. 

When  rollers  become  somewhat  dry  and  skin-like  upon  the  surface, 
from  long  use  or  from  remaining  out  of  use,  they  may  be  revived  by  being 
damped  with  a  decodtion  made  from  once-used  green  tea-leaves,  reboiled 
until  the  water  assumes  a  greenish-russet  hue.  This  should  be  kept  in  a 
bottle  or  other  convenient  clean  vessel,  and  it  will  be  found  much  better 
than  water  for  damping  rollers,  causing  them  to  retain  their  faces  longer. 

To  know'  when  a  roller  that  has  been  recently  made  or  washed  is  in 
order,  grasp  it  gently  with  the  hand,  or  pass  the  ends  of  the  fingers  along 
its  surface  lengthwise.  If  a  raw,  sticky  condition  is  indicated,  the  roller 
is  yet  11  green"  and  must  not  be  put  up.  If  it  appears  only  moderately 
adhesive  and  pliant,  but  uniformly  so,  escaping  from  the  fingers  without 
showing  a  mark  from  them,  and  with  a  smooth  rebound,  the  roller  is  “in 
order,”  and  is  best  if  mounted  and  charged  with  ink  at  once. 

Different  colors  and  qualities  of  printing  inks  require  rollers  in  various 
conditions  of  adhesiveness  or  sudtion.  Thus,  soft,  thin  blacks,  most  yel¬ 
lows,  siennas,  greens,  common  reds,  tints,  and  all  those  inks  containing 
chromes,  ochres,  and  other  soft  pigments,  need  fresher  surfaced  and  more 
yielding  rollers  than  strong,  heavy  blacks,  blues,  fine  reds,  and  such  as 
embody  ingredients  that  produce  a  peculiar  suction  upon  the  face  of  a 
roller  when  they  are  applied  to  it,  and  which,  consequently,  keep  it  in 
good  condition  to  work  cleanly  and  well;  whereas,  if  a  soft  roller  were 
used  for  such  strong  inks,  they  would  be  pretty  certain  to  deposite  most 
of  the  coloring  matter  upon  the  distributing  surfaces,  that  they  should  re¬ 
tain  until  it  is  required  to  cover  the  type.  Some  attention  paid  to  the 
effedts  of  various  qualities  of  inks  upon  rollers  of  different  conditions, 
will  soon  give  the  observant  workman  the  intelligence  whereby  he  may 
combine  their  uses  to  the  greatest  advantage. 

ROLLER  MAKING. 

The  weather,  as  well  as  a  judicious  selection  of  materials  and  imple¬ 
ments  to  be  used,  has  considerable  to  do  with  successful  roller  making, 
and  no  pressman  may  be  called  fully  competent  in  his  business  who 
cannot,  in  almost  any  wreather,  make  good  rollers — the  best  of  which 
are  emphatically  the  cheapest. 


(  No.  lO.) 


LAKE  IN  CENTRAL  PARK,  N.  Y 


I 


The  Press  Room. 


The  best  printers’  rollers  are  now  made  almost  entirely  from  glutinous 
and  saccharine  matters  that  readily  combine  under  simple  manipulation 
and  form  what  is  termed  roller-composition.  Although  no  great  art  is  in¬ 
volved  in  producing  this  composition,  yet  a  considerable  amount  of  care 
and  judgment  is. 

The  kettle  used  in  making  roller-composition  is  in  principle  the  same 
as  an  ordinary  glue-kettle,  only  larger  and  deeper.  I  he  subjoined  cut 
presents  a  correct  view  of  a  four-gallon  kettle  we 
have  found  well-adapted  for  the  purpose  men¬ 
tioned.  It  is  made  entirely  of  sheet-copper,  a 
material  that  will  be  found  the  cheapest  to  use. 

We  now  come  to  the  preparation  and  appli¬ 
cation  of 

ROLLER-COMPOSITION, 

and  propose  to  lay  before  our  readers  some  of 
the  best  methods  known  for  making  rollers  of 
superior  and  uniform  quality.  The  formulae  of 
the  first  three  given  have  long  been  regarded  by  a 
few  possessors  of  them  as  among  the  “great  se¬ 
crets”  of  the  printing  business,  only  to  be  made 
known  to  others  for  a  valuable  consideration  and 
under  the  most  confidential  restrictions.  As  we 
are  not  obliged,  by  any  circumstance  to  continue 
the  mystification,  we  present  these  methods  to  all 
who  may  wish  to  use  them,  assuring  our  friends 
at  the  same  time  that  if  they  will  adhere  to  the 
directions  given,  they  will  prove  to  be  reliable 
and  of  considerable  value. 


TYPOGRAPH 
COMPOSITION  KETTLE. 

A,  boiler  containing  composition; 

B,  showing  water  space  between 
outer  and  inner  boilers;  C,  long 
spout  made  somewhat  angular, 
which  is  better  for  pouring  than 
the  short  oval  or  round  spouts 
usually  made. 


Excellent  Recipes  for  making  Rollers. 

No.  i. — For  Swumer. — 2  lbs.  Cooper’s  No.  1  Glue;  2  lbs.  Baeder’s  Glue;  1  gallon  best 
Sugar  House  Molasses ;  l/o,  pint  Glycerine.  For  Winter ,  reduce  each  glue  3^  to  %  of  a  lb. 

Directions: — First  soak  the  glues,  wrapped  up  separately  in  woolen  cloths,  until  the  pieces 
bend  easily  without  snapping,  which  will  generally  take  from  two  and  a  half  to  three  hours.  Boil 
the  molasses  for  forty-five  or  fifty  minutes,  and  skim  it  thoroughly.  Then  put  in  the  glues,  drained 
of  superfluous  water.  Boil  the  whole  for  fifteen  or  twenty  minutes.  At  last  put  in  the  glycerine; 
and  after  three  to  five  minutes  boiling  and  stirring,  pour  off. 

The  above  composition  may  be  cut  into  small  pieces  from  time  to  time,  as  rollers  require 
renewal,  and  be  remelted  several  times,  adding  a  little  good-bodied  molasses  each  time. 


No.  2. — Strong  Middle  Weather  Rollers. — 8 1/>  lbs.  Cooper’s  best  Glue  ;  2  gallons  best  Extra 
Syrup;  1  pint  Glycerine;  2  ounces  Venice  Turpentine. 


Directions  : — Steep  the  glue  in  rain  water  until  pliant,  and  drain  it  well.  Then  melt  it  over 
a  moderate  fire,  but  do  not  “  cook  ”  it.  This  will  take  from  fifteen  to  twenty-five  minutes.  Next 
put  in  the  syrup,  and  boil  for  about  three-fourths  of  an  hour,  stirring  it  occasionally,  and  removing 
any  impurities  that  arise  upon  the  top  of  the  composition.  Add  the  other  ingredients  a  few 
minutes  before  removing  the  boiler  from  the  fire,  and  pour  slowly. 

N.B. — If  the  glycerine  and  turpentine  are  to  be  omitted,  reduce  the  quantity  of  syrup  one  pint. 


6o° 


The  above  makes  excellent  strong  rollers  for  fast  printing  when  the  thermometer  ranges  from 
to  700.  Slightly  reduce  or  increase  the  glue  as  the  weather  becomes  colder  or  warmer. 


43 


I  he  Press  Room. 


No.  3. — jo Yz  lbs.  genuine  Irish  or  Buffalo  Glue ;  2*4  gallons  Black  Sugar  House  or  best  Maple 
Molasses  ;  1  lb.  India-rubber  Gum  Shavings  ;  2  ounces  Carolina  Tar  ;  12  ounces  Glycerine  ;  4  ounces 
strong  Vinegar. 

Directions  : — Soak  glue  over  night,  and  drain  in  the  morning  by  means  of  a  covered  collender' 
Boil  molasses,  and  skim  for  twenty  minutes.  Add  India-rubber  chips,  and  stir  until  it  combines 
with  the  molasses.  Add  glue,  and  boil  for  forty  minutes,  occasionally  stirring  the  mass.  Put  in 
tar  and  glycerine,  boil  six  or  seven  minutes,  and  pour. 

This  is  the  recipe  for  making  the  mysterious  “Black  Composition”  so  durable  and  elastic, 
and  known  to  but  very  few  persons  until  recently.  If  properly  handled,  it  cannot  be  excelled, 
and  contains  every  element  required  in  a  roller.  Caution  must  be  taken  that  only  purified  rubber 
gum  is  used.  When  this  cannot  be  procured,  add  a  pound  and  a  half  more  glue,  and  four  ounces 
more  glycerine. 


No.  4. — 4*4  ibs.  White  Shell  or  Bonnet  Glue  ;  ^4  gallon  Strained  Wild  Honey;  1  quart  Sugar 
House  Molasses  ;  2  ounces  Burgundy  Pitch. 

Directions  Soak  glue  twenty  minutes,  or  until  pliant,  and  drain,  but  keep  from  air.  Boil 
honey  and  molasses  three-quarters  of  an  hour.  Add  glue  and  pitch,  boiling  half  an  hour  longer. 
Stir  the  mass,  and  skim  well  during  process. 

A  small  quantity  of  this  composition  dropped  on  a  board  or  iron  plate  will  indicate  when  it  is 
properly  cooked.  A  shorter  or  longer  time  than  is  given  above  for  boiling,  as  may  be  found  suffi¬ 
cient  or  necessary,  will  sometimes  happen.  This  makes  a  clear  and  durable  roller. 


We  might  add  several  other  recipes  known  to  be  good;  but  those 
already  given  will  be  quite  sufficient  for  all  practical  purposes. 

In  choosing  glue  for  rollers,  see  that  it  is  clear  and  bright  in  body  and 
even  in  texture  when  held  up  to  the  light.  It  should  break  short,  but  only 
after  considerable  force  is  used,  and  with  a  clear,  sharp  edge,  like  glass. 
Spotted  glue,  or  that  which  is  clouded  and  specky,  should  be  refused. 

Roller  cores,  if  made  of  wood,  should  be  well  scraped  after  being 
stripped,  and  bound  with  strong,  loosely  stranded  twine,  so  that  the  com¬ 
position  may  adhere  well. 

When  pouring  rollers  in  cold  weather,  it  is  best  to  have  the  moulds 
warmed,  or  at  least  stood  where  they  will  not  be  affedted  too  severely  by 
cold  weather. 

In  drawing  rollers,  much  trouble  is  sometimes  experienced  from  the 
contradtion  of  the  molds  or  from  imperfedt  greasing.  If  a  mixture  of  pure 
sweet  oil  or  melted  butter  and  plumbago  ( such  as  eledtrotypers  use )  is 
freely  used  to  grease  the  moulds,  the  rollers  will  draw  easily. 

Old  rollers  that  are  still  elastic  but  surface-hardened,  may  be  made  as 
good  as  new  at  small  expense  by  shaving  off  the  tough  parts  to  the  depth 
of  one-third  of  an  inch,  and,  after  placing  them  in  the  mould,  pouring 
around  them  fresh  composition  made  thoroughly  hot.  This  pradtice  is 
very  common  in  some  parts  of  Europe,  where  an  entirely  new  roller  is 
but  seldom  made. 

Surplus  composition  should  be  poured  into  pans  for  future  use;  and, 
when  required,  remelted  by  itself  after  being  cut  into  small  pieces.  Mix¬ 
ing  new  and  old  composition  in  the  melting  kettle  is  not  good.  Melt 
each  separately. 

When' composition  becomes  tough  and  stringy  from  too  much  boiling, 
the  addition  of  a  little  raw  molasses,  or  some  strong  tea-leaf  decodtion 


—  44  — 


The  Press  Room. 


will  generally  reduce  it  sufficiently  to  pour  well.  Boiling  glue  and  mo¬ 
lasses  together  too  much  is  apt  to  take  the  “  life  ”  awaj-  from  both,  as  the 
the  latter  will  candy,  and  the  former  become  dry  and  leathery. 

PRINTING  INKS,  ETC. 

Black  and  colered  inks,  as  well  as  the  varnishes,  and  other  prepara¬ 
tions  used  for  tempering,  reducing,  drying,  and  brightening  them  as 
needed,  should  be  matters  of  grave  consideration.  Formerly  it  was  con¬ 
sidered  a  part  of  the  knowledge  of  a  complete  pressman  to  understand 
how  to  mix  the  inks  he  used.  But  the  manufacture  of  printing  inks,  etc., 
has  now  become  a  distinCt  branch  of  business,  employing  great  chemical 
and  other  scientific  intelligences.  Without  entering  into  all  the  minutiae 
of  ink  making,  we  will  give  a  brief  list  of  some  of  the  most  important 
agents  employed  in  doing  so. 

The  ingredients  of  ordinary  good  printing  inks, — except  some  of  those 
containing  analine  coloring  matter,  in  which  are  employed  shellac,  alcohol, 
turpentine,  kreosote,  glycerine,  and  other  fugative  agents, — are  principally 
burnt  linseed  oil  (called  varnish),  resinous  matter,  small  quantities  of  soap, 
gum  arabic,  Venice  turpentine,  balsams  fir  and  copaiba,  and  pure  coloring 
matter.  For  blacks  the  universal  pigment  is  lampblack,  obtained  from  a 
variety  of  sources  and  in  many  degrees  of  fineness.  Carbonized  ivory,  or 
bone-black,  when  sufficiently  pure  and  fine,  also  answer  well.  The  brown 
tinge  that  is  found  in  lampblacks  is  neutralized  by  the  use  of  Prussian-blue, 
indigo,  etc. 

Reds  are  made  from  carmines,  vermillions,  English  and  French  impe¬ 
rial  reds,  red  lead,  Indian  and  Venitian  reds,  etc. 

Blues  are  supplied  by  Prussian  blue,  indigo,  Chinese  blue,  ultramarine, 
and  some  others. 

Yellow  is  obtained  from  chromate  and  bichromate  of  lead, — otherwise 
called  lemon  and  orange  chrome, — yellow  ochre,  gamboge,  etc. 

Green  is  got  from  arseniate  of  copper,  or  by  mixing  blue  and  yellow. 

Browns  are  produced  by  means  of  burnt  sienna,  umber,  sepia,  and  the 
admixture  of  red  and  black. 

The  forming  of  other  colors  will  be  treated  of  hereafter. 

In  the  choice  of  printing  inks  due  regard  should  be  paid  not  only  to 
their  depth  of  color  and  working  qualities,  but  to  their  adaptability  to  the 
various  kinds  of  paper,  etc.  to  be  printed  with  them.  The  grades  of  black 
inks  now  offered  to  printers  by  manufacturers  are  so  numerous,  and  vary 
so  much  in  quality  and  price,  that  it  will  require  not  only  an  experienced 
judgment  in  their  selection  as  to  quality,  but  some  knowledge  of  their 
proper  consistency  and  other  necessary  properties,  according  to  price. 

As  a  general  rule,  we  have  found  that  those  inks  which  possess  a  bright, 
jet-black,  satin-like  lustre;  that  are  soft  and  buttery  to  the  touch,  and 
deposite  themselves  upon  the  finger  when  they  are  touched  softly  and 
evenly,  drawing  from  the  main  body  only  a  short  silky  thread  ;  that  dry 
moderately  fast;  that  distribute  themselves  smoothly  and  freely;  that,  when 
laid  upon  the  type,  print  the  edges  and  hair-lines  sharply  and  cleanly,  yet 


45 


yield  an  abundance  of  rich,  glossjr  color;  and,  finally,  that  may  be  washed 
off  from  the  rollers  or  form  without  hard  rubbing;  are  always  good  and 
reliable,  according  to  their  grades,  in  every  sort  of  weather. 

Inks  that  possess  dirty  or  gritty  sediment;  that  are  oily  and  offensive 
in  odor;  that  are  stringy  or  gummy;  that  print  dirtily  and  cling  tenaciously 
to  everything  they  touch,  yet  dry  very  slowly;  are  to  be  guarded  against 
and  prevented  from  ever  entering  a  press  room  if  possible. 

Inks  that  clog  up  type,  and  distribute  badly  over  the  rollers  when  the 
latter  are  in  good  order,  and  do  not  wash  off  readily  from  the  forms  by 
means  of  good  potash  ley,  should  always  and  at  once  be  discarded. 

In  the  more  costly  grades  of  black  inks  one  would  suppose  that  few  or 
none  of  the  defedts  noticeable  in  the  common  qualities  should  be  found. 
But  price  does  not  always  secure  the  best  qualities  in  an  ink,  although  the 
best  ingredients  and  most  careful  labor  may  have  been  used  to  make  an 
article  that  cannot  be  afforded  for  less  money  than  is  asked  for  it.  Never¬ 
theless,  for  the  want  of  proper  proportions,  or  the  addition  or  absence  of 
something,  the  ink  may  not  print  well.  It  is  harsh  and  raw,  or  dreggy, 
or  does  not  dry  for  a  long  time,  and  in  all  probability  “sets  off,”  which  is 
the  worst  fault  in  the  eyes  of  a  painstaking  and  capable  pressman. 

A  well-made  ink  will  offset  but  little  in  ordinary  cases.  Very  glossy, 
hard-surfaced  papers  or  card-boards  are  liable  to  soil  easily  with  most  inks, 
unless  preventatives  are  used,  which  we  will  name  in  another  place.  But 
really  fine  printing  qualities  cannot  exist  in  any  ink  that  smears  and  offsets 
on  surfaces  not  highly  polished. 

A  good  way  to  ascertain  the  relative  fineness  and  difference  of  color 
in  black  inks  of  various  grades,  when  more  extended  experiments  are 
not  convenient,  is  to  spread  them  quite  thinly  with  a  small  palette-knife  on 
the  surface  of  a  clean  ink-stone,  one  against  another,  and  then  press  a 
sheet  of  calendered  paper  upon  them  with  the  hand.  Hang  this  up  over 
night  where  the  air  can  abl  upon  the  adhering  inks,  and  the  following 
morning  will  show  very  obviously  their  difference.  These  hints  apply  as 
well  to  colored  inks. 

Analine  colors,  which  fade  easily,  should  not  be  employed  except  on 
the  most  ephemeral  work.  They  are  very  showy,  but  ought  not  to  be 
used  on  important  work  intended  for  preservation. 

MAKING  FORMS  READY  FOR  PRESS. 

Before  a  form  is  put  to  press,  a  good  impression  of  it  should  be  taken, 
and,  if  there  be  cuts  or  lines  of  type  that  are  low  or  meant  to  be  much 
more  conspicuous  than  others,  they  should  be  underlaid  with  strips  of 
paper  more  or  less  thick,  and  the  whole  face  of  the  form  equalized  for  the 
work  it  has  to  do.  This  preparation  belongs  properly  to  the  compositor, 
as  his  time  is  worth  financially  less  than  that  of  the  pressman;  but  it  is 
frequently  left  for  the  latter  to  do,  and  may  be  placed,  in  consequence, 
among  the  various  responsibilities  for  him  to  attend  to. 

Unnecessarily  heavy  impression  upon  type  should  never  be  permitted  a 
moment  after  it  is  discovered,  for  the  abrasion  caused  upon  the  fine  lines  of 


tyTsycx^a^s^ 


The  Press  Room. 

•o 

metal  type,  even  for  a  short  time,  is  ruinous  to  them,  as  well  as  unpleasant 
to  the  sight.  We  have  seen  lines  of  good  type  “  pulled  down  ”  below  their 
regular  height  fully  the  thickness  of  a  stout  card  by  negligence  in  this 
particular. 

Heavy,  broad-faced  lines  of  type  are  always  better  if  brought  up  by 
means  of  underlaying  than  by  overlaying,  as  the  former  lifts  them  up  so 
as  to  receive  the  full  effeCt  of  the  ink,  whereas,  in  the  latter  case,  they  have 
to  take  their  chances,  for  overlaying  merely  impresses  upon  the  paper  the 
inadequate  supply  of  ink  that  such  lines  generally  receive  when  not  made 
slightly  higher  than  the  other  lines. 

TYMPANS. 


The  tympaning,  or  the  substances  that  are  placed  between  the  iron 
impression  cylinders  or  platens  of  presses,  and  the  sheet  that  receives  the 
impression  from  the  type,  are  variously  composed  of  tine  broad  cloth,  felt 
cloth,  layers  of  soft  or  hard  paper,  card-board,  parchment,  or  a  mixture  of 
these  articles.  Solid  book  pages  and  masses  of  small  type  require  the 
softer  tympans;  while,  for  open  jobs,  such  as  circulars,  bill-headings, 
blanks,  and  other  freely  leaded  work,  paper  tympans  are  the  best,  as  they 
induce  a  sharper,  and,  at  the  same  time,  a  more  delicate  impression. 
About  seven  or  eight  thicknesses  of  ordinarily  sized  book-paper,  or  four 
to  six  of  letter-paper,  is  sufficient  for  most  kinds  of  light  forms.  Blanks 
having  much  rule-work  in  them  will  require  a  sheet  or  two  less  if  properly 
leveled,  which  may  be  done  by  placing  two  or  three  sheets  of  slightly 
damp,  but  thin  and  soft  paper  under  them,  and,  after  slightly  loosening  the 
quoins,  planing  down  the  form  with  care,  afterward  locking  up  a  little 
tighter  than  at  first.  As  soon  as  the  paper  underneath  is  dry,  it  will  be 
found  that  the  faces  of  the  rules  will  have  become  more  uniform  in  height, 
and  the  joints  less  visible  when  they  are  printed  from. 

Pressmen  will  find  at  times  that  solid  borders,  tints,  etc.,  requiring  a 
larger  amount  of  ink  and  rolling  than  ordinary  forms  to  cover  them 
evenly,  will  not  work  well  on  some  of  the  platen-presses  now  in  general 
use,  because  of  the  inadequate  means  afforded  bv  them  for  distributing  the 
ink.  The  rollers  passing  over  such  tint-plates  or  border-lines  are  deprived 
of  most  of  the  ink  contained  upon  them,  and,  when  they  return  to  the 
distributing  disc  or  cylinder,  only  partially  and  imperfectly  recover  them¬ 
selves  with  ink  at  those  places  where  their  circumferences  have  passed 
over  solid  lines  lengthwise,  when  they  must  go  over  the  same  lines  again; 
but,  being  marked  by  the  old  tracks,  and  having  regained  only  a  small 
coating  of  ink,  they  cannot  deposit  sufficient  color  upon  these  places, 
which  consequently  form  a  visible  contrast  with  other  portions  of  the 
form  rolled  at  the  same  time,  but  not  subjeft  to  the  same  conditions.  The 
difficulty  may  be  remedied  to  some  extent  by  placing  the  border  or  other 
form  in  the  chase  diagonally  or  cornerwise, —  not  squarely  as  is  usual, — 
thereby  presenting  angles  that  widen  or  diminish  the  marks  made  on  the 
rollers,  and  thus  avoiding  the  necessity  to  have  the  latter  pass  over  the 
same  track  as  they  move  to  and  fro. 


I 

9 

/C7\ 


The  P  r 


/too, 


SHADED  WORK. 

Shaded  presswork,  or  lapping  one  color  with  another  and  finishing 
with  bronze,  is  produced  by  shifting  the  guages  to  get  the  shade  desired, 
using  the  same  form  or  lines  from  it  as  many  times  as  there  are  to  be 
variations  of  shade.  The  lightest  color  is  printed  first.  Thus,  if  orange, 
light  blue,  and  black  are  to  form  the  shades  under  the  bronze,  they  should 
be  printed  in  the  order  we  have  given  them.  When  thoroughly  dry, 
print  with  gold  size  to  hold  the  bronze.  When  the  bronze  is  to  form  an 
intermediate  shade  between  inks,  and  a  solid  color  is  to  complete  the  work, 
white  size  must  be  used,  and  dry  powdered  colors  applied  in  the  same 
manner  as  bronze.  This  produces  an  elegant  effedt  if  nicely  done. 

Only  such  inks  as  dry  quickly  and  become  hard  should  be  used  for 
shaded  work,  as  much  delay  and  trouble  will  occur  from  inks  that  dry 
slowly.  It  sometimes  happens  with  the  best  inks,  however,  that  spots 
will  not  dry  in  due  season.  By  rubbing  finely  powdered  soapstone  with 
cotton  wool  over  the  work  previous  to  bronzing,  the  defeeft  will  generally 
be  removed. 

As  many  persons  suppose  that  the  shaded  printing  herein  described  is 
produced  by  a  new  process,  and  is  the  invention  and  property  of  a  party 
who  vaunts  a  recent  “  patent  ”  obtained  for  the  same,  we  will  state  that  it 
is  neither  a  new  nor  a  recent  discovery.  The  writer  hereof  did  such  work 
and  saw  others  do  it  twenty-two  years  ago,  and  he  can  point  to  others 
who  practiced  it  long  before  that  period,  when  it  was  considered  public 
property  and  unpatentable.  We  consider  it  so  still,  notwithstanding  the 
letters-patent  said  to  be  in  possession  of  the  party  aforesaid.  Has  this 
“patent”  ever  been  properly  investigated?  We  think  it  has  not. 

PRINTING  WITH  COLORED  FORMS. 

Tinted  grounds  are  usually  printed  first;  but,  when  they  are  lined  and 
in  delicate  tones,  and  the  covering  matter  is  in  a  strong  color,  they  may 
be  printed  last  with  quite  as  good  an  eft'edt  as  if  done  at  first,  provided  the 
other  color  is  perfectly  dry. 

When  forms  are  to  he  printed  in  several  colors,  care  must  be  taken 
that  the  same  guages  are  used  in  printing  the  first  section  throughout,  if 
the  sheets  are  not  pointed.  Otherwise,  more  or  less  trouble  and  vexation 
may  be  expected,  when  the  divided  portions  of  the  entire  form  are  brought 
together,  and  exabt  register  is  necessary.  Several  impressions  of  each 
section  of  such  work  should  be  taken  on  common  paper  whereby  to  adjust 
those  which  follow,  thus  obviating  the  spoilage  of  good  sheets. 

In  cases  where  a  line  must  be  printed  in  two  colors  to  be  made  com¬ 
plete,  or  where  letters  are  divided  for  two  colors,  the  adjustments  should 
be  made  with  metal  quadrates  or  furniture,  and  leads  so  placed  that  the 
pressman  mar  shift  them  to  make  register  if  necessary. 


In  consequence  of  cojisiderable  additions  made  to  our  remarks  not  contemplated 
when  we  printed  the  specimen  portion  of  this  book,. {which  was  done  first,')  we  are  com¬ 
pelled  to  continue  them  on  page  233. 


—  48  — 


iSSiiilil! 


COMPOSITION  IN  STIGMATYPIE. 

BY  M.  FASOL,  OF  VIENNA. 

Imported  and  kindly  furnished  by  the  BOSTON  TYPE  FOUNDRY,  through  its  Managing  Agent,  JAMES  A.  ST.  JOHN,  Esq.— Sec  “Closing  Notes." 


HARPERS 


TYPO GRAPH ; 

OR, 


BOOK  OF  SPECIMENS, 


CONTAINING 

USEFUL  INFORMATION 


AND  A  COLLECTION  OF 


EXAMPLES  OF  LETTERPRESS  JOB  PRINTING, 


ARRANOED  for  the  assistance  of 


APPRENTICES,  AMATEURS,  MASTER  PRINTERS,  AND  OTHERS, 


OSCAR  H.  HARPEL, 

TYPOGRAPHIC  DESIGNER  AND  PRINTER 


CINCINNATI : 


PUBLISHED  AND  PRINTED  BY  THE  AUTHOR. 

1870. 


The  above  cut  represents  a  convenient  Imposing  Stone  and  Stand  for  same, 

MENTIONED  IN  PAGE  9.  ITS  GENERAL  ARRANGEMENT  WILL  BE  FOUND 
ADVANTAGEOUS  IN  JOB  OFFICES  WHERE  ECONOMY  OF  ROOM 
IN  CLOSE  QUARTERS  IS  A  MATTER  OF  NECESSITY. 


EXPLANATION  OF  THE  DIAGRAM  r 

A,  marble  or  slate  slab  ;  B,  B,  frame  of  stand  ;  C,  chase-hole  open  from  side  to  side  and 
placed  in  centre  of  stand.  It  contains  three  appertures  to  accommodate  chases  of  various 
sizes.  The  small  drawer  over  the  chase-hole  is  intended  to  contain  iron  side-  and  foot- 
sticks  or  chase-bars.  D,  D,  are  receptacles  for  straight  furniture.  The  drawers  placed 
at  either  end  (at  both  ends  is  preferable)  of  the  stand  are  for  mallets,  planers,  shooting- 
sticks,  quoins,  squares,  and  other  implements  for  locking  up  and  adjusting  forms. 


* 


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COMPOSED  BY  WORT .  A,  READ,  WITH  OSCAR  H  HARPEL  CINCINNATI. 


* 


CINCINNA  TI: 

HITCHCOCK  &  WALDEN. 

NEW  YORK: 

CARLTON  &  LANAHAN. 

1870. 


BY 

JAMES  PUMMILL. 


From  Printing  Office  of  Methodist  Book  Concern — R.  P.  Thompson,  Sup’!. 


* 


&h 


c -*o 
Y 


-<§KJ)f(,  |3oOK  OF  ^PECIJVlEJMg. 


Form  7. 


OF  HWETFQEE,  CWJf. 

(£yiitcim(;iti,  / f/ 

Dear  Sir : 

The  PHCEN1X,  of  Hartford,  has  as  yet  no  Agency  at 
your  place,  and  it  occurs  to  us  that  there  are  many  good  risks 
that  might  be  had  if  an  Agent  of  the  Company  were  located. 
We  beg  to  knoiv  if  your  other  duties  are  such  as  would  justify 
you  in  soliciting  and  receiving  applications  for  the  PHCENIX 
at  your  place— forwarding  the  same  to  this  office  for  our  ex¬ 
amination.  If  approved,  Policies  will  be  issued  here,  and  sent 
to  you  for  collection  and  delivery.  For  your  agency  in  the 
matter  ive  will  allow  you  15  per  cent,  commission,  as  well  as  the 
fees— Policy  Fee,  $1,  Survey  Fee,  50c. — the  latter  to  be  paid  by 
the  assured.  If  you  should  see  fit  to  take  hold  of  this  matter, 
it  will  give  us  pleasure,  upon  being  advised  of  the  fact,  to  send 
you  all  necessary  documents,  instructions,  rates,  etc.  by  express, 
enabling  you  at  once  to  vigorously  put  the  agency  in  motion. 

The  PHCENIX  Company  is  too  ivell  known  to  need  any 
praise  at  our  hands,  and  from  the  Statements  herewith  printed, 
you  will  be  able  to  see  for  yourself  its  financial  position  on  the 
first  day  of  January,  1870. 

Awaiting  your  reply,  am 


(Q) 


- 49 


Jhrpel’s  Ijjpoghpi); 


STEVENS  &  HUNTER, 

2STO.  1  MBEEILL  BLOCK,  DETROIT,  nvCICH. 


|  Resident  Agents  of 

The  PHcspix 

^Insurance  Eompanv, 

H/RTFOi^D,  C  0  N  1^. 

Total  Losses  Paid,  Five  Million  Dollars. 


II*  K  Art  AH* 

DEALER  IN 

«  i  A  n .  „  ^  in  ^  4/  rN 

y 


Hats,  Caps,  Boots,  Shoes, 

Boltons,  Jfanxii  6oobs,  (Sroccries,  Cnwhs,  etc. 
LQVILAfiC®,  ©LIKM1@N1T  <3@ . 


A  Discount  of  5  per  cent,  will  be  allowed  on  all  Bills  over  $5  bought  for  Cash. 


- SO 


NOTICE  I 


]4aF(PEL’£  yYPOQRyVPH;|- 


CIEGULAR. 


^  * 


#<# 


^  v 


'Av# 

v  v. 


E  keep  constantly  on  hand  and  offer  for  sale, 
at  the  Lowest  Market  Prices,  all  of  the 

LATEST  STYLES 


Of  our  own  Manufacture,  of  Selected  Stock, 
at  Wholesale  and  Retail. 


Having  greatly  increased  our  facilities  for  man¬ 
ufacturing,  by  the  introduction  of  Steam  Power 
and  the  most  improved  machinery,  we  can  offer 
as  great  inducements  to  buyers  as  any  other  house 
in  the  country. 

WE  ALSO  BUILD 

INIBDSSES  ail  HOSE  REELS. 

We  take  great  pleasure  in  showing  our  stock, 
whether  you  buy  or  not,  and  only  ask  you  to  call 
and  examine  for  yourselves. 

We  would  respectfully  return  our  thanks  for 
the  liberal  patronage  bestowed  on  us  for  so  many 
years,  and  hope,  by  prompt  attention,  to  merit  a 
continuance  of  the  same. 

Respectfully, 

B.  BRUCE  &  CO. 


TO  THE  TRADE. 

We  are  prepared  to  fill  all  orders  at  Wholesale 
Prices,  and  are  satisfied  that  our  Carriages  will 
compete  favorably,  both  in  workmanship,  ma¬ 
terial,  and  price,  to  those  manufactured  in  the 
Eastern  market. 


N.  B.— If  desired,  we  will  send  Illustrated 
Catalogue  of  all  the  very  latest  styles  of  Car¬ 
riages  and  Buggies. 


4.  >4 


4/4 

4  v* 

Aa 

•iY 
<■/% 
V  % 


% 


- 52 


pOOK  OF  £pECI]VI£:^<3.|- 


frj?^ i, 

^rfovTcbss,  pairts,  Brashes,  Painters’ ffiate^tc. <*c' 

West  Fourth 

c Cincinnati ,  187 


53 - 


To  the  Representatives  of  the  Company  in  Kentucky : 


Gentlemen Hereafter,  return  of 
premiums  for  taxation  will  be  made  by  this  office  to  the 
Auditor  of  Public  Accounts,  at  Frankfort,  as  required  by 
the  new  Insurance  Law  of  the  State.  The  first  state¬ 
ment  thereof  will  be  made  by  us  in  the  month  of  May, 
or  as  soon  as  April  returns  from  Agents  are  received  here. 
The  taxes  we  will  also  pay  at  Frankfort.  Hereafter,  there¬ 
fore,  you  will  make  no  statement  of  your  premium  receipts 
to  the  County  Clerk  as  has  been  the  custom,  nor  pay 
any  State  taxes  whatever;  all  such  duty,  under  the  new 
Insurance  Law,  approved  March  12,  1870,  devolving  upon 
us  to  perform.  We  are  anxious  in  making  our  first  exhibit 
at  the  State  Capitol,  to  the  newly  created  Insurance  Bu¬ 
reau,  to  present  as  substantial  a  showing  as  possible;  we 
therefore  take  the  liberty  of  thus  stating  our  wishes  to 
you  that  business  for  the  remaining  portion  of  March,  and 
April,  may  be  prosecuted  with  a  firm  determination  to 
accomplish  desired  results. 

We  are  proud  of  the  noble  position  this  Company  oc¬ 
cupies  in  Kentucky,  and  its  popularity  with  agents  and 
the  public,  and  nothing  on  our  part  shall  be  left  undone 
to  retain  a  continuance  of  your  favor  and  the  people’s 
patronage. 

Yours,  Very  Truly, 


A.  T.  FORBES,  Gen’l  Agent. 


- 54 


of 


Addy ,  Hull  Co. 

COMMISSION  MERCHANTS 

—  IN  — 

£fif}J/roit  ,tnd(£o1ton, 

Comer  Vine  and  Water  Sts,  Cincinnati. 


- 55 - 


-|J4a^pe;l’J3  ]ypoqraph;!- 


~l(e  Hht  'tfitfmwdl  ^tutemc!(t. 


Cash  on  hand,  in  Bank,  and  due  from  Agents, 

$174,973  91 

United  States  Securities . 

.  163,060  00 

Loans  on  Approved  Securities,  . 

169,050  00 

New  York  Bank  Stocks, . 

90,250  00 

Hartford  Bank  Stocks, . 

.  .  433,420  00 

Miscellaneous  Bank  Stocks, . 

44,750  00 

Bonds— State,  City,  Bail  Road,  and  Water, 

467,300  00 

State  Stocks— Ohio,  Missouri,  Tennessee,  and  Alabama, 

.  .  132,085  00 

Assets  at  Market  Value,  . 

$1,871,888  91 

Total  Liabilities,  $16,572.83. 

Hartford,  Conn.  January,  1S7Q. 

ASSETS:  January  1st,  1869,  $1,407,335.60 
Unadjusted  Losses,  .  131,970.62 


ASSETS:  January  1st,  1370,  $1,671,838.91 
Unadjusted  Losses,  .  16,572.83 


NET,  $1,335>§64.98 


net,  .  $1,623,316.03 


FIRE  LOSSES  PAID  IN  THE  WEST  AND  SOUTH : 


Ohio, 

.$283,293  40 

Indiana, 

148.513  63 

Illinois,  . 

.  437,105  03 

Michigan,  . 

186,200  81 

Iowa,  . 

.  142,625  76 

Wisconsin, 

177,764  73 

Minnesota,  . 

90,736  04 

Kansas,  . 

.  32,482  61 

Nebraska, 

5,901  88 

Kentucky, 

.  $153,421  39 

Missouri,  . 

.  204,428  55 

Tennessee,  . 

182,166  51 

Mississippi, 

.  157,425  61 

Alabama,  . 

79,778  90 

Arkansas, 

.  25,451  45 

Texas, 

.  -  6,12100 

West  Virginia, 

2,000  00 

Colorado  Territory, 

.  128  21 

JURIED  IN  THE  j^IRE  AND  j^OUND  j^AITHFUL. 


The  Phcenix  enters  the  New  Year  full  ot  life  and  vigor,  financial  and  phys' 
ical,  with  the  prestige  of  success  in  its  favor,  and  a  name  and  fame 
unsurpassed  in  the  annals  of  Fire  Insurance. 


0F(,  pOOK  OF  jSpECIJVlEJM£.  fg- 


A.  Ackerland  &.  Co. 

A.  Ackerland  &  Co. 

,.109  West  Pearl  St. 

109  West  Pearl  St. 

Lot . 

Lot 

Size . 

Size 

Price . 

Price 

is - - s>  is - - -0> 


Hai-peTs  T ypograph  ; 


*3  i~ 


i 


CHaSSp 

Hughes  High  School, 

Thursday,  June  2,  1870, 


l.— 


2.— 


9.- 

10.- 


OVERTU RE —  Two  Pianos — ‘ ‘Norm a,’ ' 

Misses  Bernstein,  Loewenstein,  and  Pappenhetmek, 

and  Masters  Roedter,  Gerstle,  and  Bettman. 
■VOCAL  DUET — “  When  Night  comes  o’er  the  Plain,” 

Misses  Connor  and  Mullen. 
DECLAMATION — “Similia  Similibus,”  ...  R.  Elliot. 
READING — “  Don’t  Run  into  Debt,”  .  .  .  .  Miss  Seymour. 

PIANO  SOLO — “  Fra  Diavolo,”  ......  Miss  Vokis. 

DECLAMATION — “  Speech  of  Cassius,”  R.  Carter. 

■READING — “  Forty  Years  Ago,”  . Miss  Hall. 

DUET — Violin  and  Piano — “Stradella,” 

0.  Williams  and  J.  Bettman. 
DECLAMATION — “  Speech  of  Spartaeus,”  .  .  .  E.  Nunnecker. 

■VOCAL  TRIO — “  Zauberftete,” 

Misses  Mullen,  Owens,  Bernstein,  and  Loewenstein. 
READING — “Caudle  Lecture,”  .....  Miss  Hobbs. 
DECLAMATION — “  Horati us  at  the  Bridge,”  .  .  J.  D.  McNeale. 

-VOCAL  SOLO — “Sing,  Smile,  Slumber,”  .  .  .  Miss  Seymour. 

■READING — “  The  Raven,” . .  Miss  Tatem. 

•DECLAMATION — “ The  War  Inevitable,”  .  .  .  A.  Fiske. 

-VOCAL  DUET— “Our  Way  Across  the  Sea,” 

Miss  Owens  and  F.  McFarland. 
-READING — “Why  don’t  they?  Why  they  don’t”  .  Miss  Brickley. 
■PIANO  SOLO — “Cascade,”  .....  Miss  Boernstein. 

-READING — “  Waiting  at  the  Gate,” . Miss  Burt. 

DECLAMATION — “  How  they  Brought  the  Good  News 

from  Ghent  to  Aix,”  .  . J.  Ebersole. 

-READING — “On  the  Banks  of  the  Tennessee,”  .  Miss  Sawyer. 
VOCAL  SOLO — “  Leise,  Leise  !”  ....  Miss  Loewenstein. 

-READING — •“  Music  for  the  Million,”  ....  Miss  Carey. 
■VOCAL  DUET — “Norma,"  .  Misses  Bernstein  and  Loewenstein. 


I 


I 


t 


f 


- - 58 


59  - 


AGENTS  FOR  DENNISON’S  MARKING  TAGS. 


Oil,  KOOK  OK  SPECIMENS 


Chamber  of  Commerce  Agency— A.  S.  Reeves,  Agt. 


iasnffii.s@fi®i 


IFTON 


jandnu.^cbntiua  14U\,  W7P. 


H  arpel’s  Typograph; 


MUSICAL 

ENTERTAINMENT 


In  Behalf  of  the 


OF  BROOKLYN, 


Given  under  the  Auspices  and  Direction  of  the 

PHILADELPHIAN  SOCIETY, 

AT  MOZART  HALL, 

Wednesday  Evening,  Aug.  10th,  1870. 
CARDS  OF  MMlSSldwTOBE  DOLLAR, 

Seats  may  be  secured  at  T.  WERLE’S  Music  Store,  69  York  Street, 
or  at  the  Box  Office  of  the  Hall,  from  9  o’clock, 
a.  m.  until  4,  p.  m. 

- 62 - 


or.  Book  of  Specimens. 


- 63 


HARPEL’S  TYPOGRAPH;*^ 


to 


m 

m* 

■^CfX 


of 


sP 


of 


essorsto  DIEBOLD,  BAHMANN  &  Cq 


Succe 


s*.  Manu&cturers  of  ^ 


jy*ar*>  strRCt-A.*» 

—  AND  — 

Patent  Combination  Bank  Locks, 


WM.  R.  WILSON, 

Traveling  Agent 


/<?/ 


-  64 - 


OR,  BOOK  OF  SPECIMENS. 


I 

ii 


Harpel’s  Typo§raph ; 


- 66 


Or,  Booh  of  Specimens, 


or,  (Book  of  Specimens. 


Vy\xis^ratecl  PriCe  fjst 


G.&  F.SPICKER, 


IMPORTER^  OF  i'"^)0 


j'fAF^PEL'S  jYPOGF\APH 


(PROGRAMME.) 

T  K|e  De/^d 

Shot. 

Capt.  Cannon, 

.  Mr.  Johnson. 

Mr.  Hector  Timid,  . 

“  Dominick. 

“  Wiseman, 

“  Malone. 

“  Frederick  Thornton,  . 

“  Withenbury. 

Louisa, . 

Miss  Thompson. 

Chatter, . 

.  “  Dominick. 

ICI  ON  PARLE  FRANCAIS. 

'■'S’ 

Maj.  Regulus  Rattan, 

.  Mr.  Mendenhall. 

Victor  Dubois,  . 

“  Mitchell. 

Mr.  Spriggins, 

“  Craig. 

Mrs.  Spriggins,  . 

.  Mrs.  Burton. 

Angelina, . 

Miss  Tylor. 

Julia, . 

Mrs.  Nixon. 

Anna  Maria,  .  .  .  . 

“  Mitchell. 

[ntcrtainuunt  to  commence  at  Ifigfct  o’clock, 


- 70 


JAS.  MURDOCK,  JR. 

MANUFACTURER  OF  EVERY  VARIETY  OF 

CAST-STEEL  AND  BRASS 

STAMPS,  •*”'•*  BRANDS, 

STENCILS, 

BAGGrAGrE  CHECKS, 


BOOK-BINDERS’  STAMPS, 

1  Q(t  WEST  5th  ST.,  SEC.  DOOR  W.  of  BA  CE, 

(Orders  Solicited  and  Promptly  Executed,)  CINCINNATI. 
Neat  Stamps  for  Marking  Printers’  Cuts,  Sticks,  Chases,  Galleys,  etc.  made  to  order. 


1 


c, 

X-vfT 

\  '  <ix  ( 

<L  $  CUT  PIOWBBS.1  3 

Floral  l^ntamtrtts, 

<\  Gold  and  Silver  Fish, 

J  Aquarias, 

'•h^bS  Aquaria  Plants, <&e. 

-  — 

GREENHOUSE  &  BEDDING  PLANTS,  f 

SUCH  AS  \ 

Camellias,  Roses,  Verbenas, 

Heliotropes,  ^  v*  Geraniums,  sML. 


0 


1  BOX 


SUPERIOR 


Maple  Candy,  J 

*GOOD  FOR 

m  COUGHS  and  COEDS, 


I 


MADE  FROM 

Pure  Maple  Sugar, 
No.  220  WALNUT  STREET,  EAST  SIDE. 

PRICE,  25  CENTS. 


HARPEL’S  TYPOGRAPH;  <X^s> 


i 

<1 

H 

fc 

R 

W 

w 

w 


u. 


Window  Shades. 


iC. 


H.  H.  BRENEMAN  &  CO. 

*eSf  Proprietors, 

p°urth  St.  ClNcV^ 


H 

H 

W 

<j 

0 

H 

9 

K 

n 


IF  NOT  CALI. ED  FOR  IN  TEN  DAYS,  PLEASE 


OR,  BOOK  OF  SPECIMENS.  SfeK® 


|  Double  Distil]^ 

BENZINE, 

Prepared  by 

Wn,  S  JerrelU  Co.  f 


DRUGGISTS 

Manufacturing  Chemists, 
112  WEST  THIRD  ST. 

AND 

11  Burnet  Street, 

CINCINNATI. 


This  article  is  invalu¬ 
able  FOR  REMOVING  ALL 
kinds  of  Grease  Spots,  ; 

ETC.  FROM  THE  MOST  DELI¬ 
CATE  FABRICS,  AND  FOR  j 

cleaning  Gloves  without  ) 

AFFECTING  THE  COLOR.  ( 


(J) 


- 73 - 


! 


Harp  el’ s  Hypo  graph; 


^JNIDEF}  S(  "jMcpALL, 


C0  (g) 

bolesak  JJaper  {Dealers, 


232  WALNUT  STREET, 


Cincinnati,  April  20,  1870. 


Dear  Sir : 


Having  made  other  arrangements,  I  have 


severed  my  connection  with  the  “Old  House’’  and  shall 
“cease  my  wanderings.’ ’  I  am  very  thankful  for  past 
kindness  anal  favors,  and  hope  you  will  not  desert  the 
old  concern,  and  that  you  will  favor  my  successor  as 
yon  have  favored  me. 


Yours,  Respectfully , 


Dea  r  Sii' : 

Our  Mr.  ROSE  having  branched  out  for  him¬ 
self,  iv e  are  left  without  our  “old  stand-by’’  hut  shall 
soon  have  another  representative  on  the  road,  and  in  the 
meantime  we  trust  we  may  have  your  orders  as  hereto¬ 
fore,  and,  any  goods  you  may  want  at  any  time  in  ab¬ 
sence  of  our  representative,  shall ,  we  assure  you,  have 
our  careful  and  prompt  attention. 


Yours,  Respectfully , 


- 74 


ot,  ooTc  of'  Speozmens. 


94  Pearl  Street,  (Dlneim&tlt  O* 


- 7S 


H  ARPE  L’S  TYPOG-EAPPI; 


FLAGS  AND  BADGES 

For  Decorations  and  Society  Purposes, 

FURNISHED  BY 

IN"  OP^PA-AIsriD, 

186  Schuylkill  Street, 


FRANK  S  BLOCK, 


READING,  Pa. 


- 76 


o  iR.  ,  BOOKI  OF  S  R  E  O  I  JXL  IE  3ST  S  - 


C.  DIEBOLD. 


J.  KIENZLE. 


Itetxvecn  Second  and  I’ea rl  Sts. 


Harp  el' s  Typograph,- 


S.  G.  COBB’S 

—  Late  Cobb  &  Davies, — 

Catalogue  of  Plants, 


FLOWEP,  BORDER)  AND  WINDOW, 


LINDEN  GROVE  GARDENS, 


Covington,  K y . 


aintd  Seel 


\ 

No.  18a  West  Fourth  Street, 


CINCINNATI,  O. 


FJJE/VD,  POINTER,  58  WEST  FOURTH  STREET,  NEAf^  WALNUT. 


-  1870.- 


78 


or ,  Book  of  Specimens. 


The  Qf^e^j  p if^e  VfcksBii^q, 


EQUAL  TO  ANY  EMERGENCY. 

The  following  incident  in  the  history  of  the  Phcentx  Insurance 
Company  of  Hartford,  indicates  emphatically  its  character  and  con¬ 
duct  in  an  emergency,  which  for  extent  and  magnitude  never  had 
its  parallel  in  the  West  or  South.  Vicksburg,  Miss,  on  the  nights  of 
December  23d,  1866,  and  January  22d,  1867,  was  visited  by  conflagra¬ 
tions,  which,  in  a  very  short  time,  destroyed  over  one  hundred  and 
fifty  buildings  and  their  costly  contents,  involving  a  loss  largely 
exceeding  One  Million  Dollars;  the  PHCKNIX  had  thirty-three 
policies  “  under  fire,”  netting  a  loss  of 

- S  8  I 6;  4  7.1 1„ - 

which  was  paid  as  rapidly  as  our  Adjusters  could  prepare  proofs 
and  draw  drafts,  thereby  sustaining  its  Hell-earned  reputation  for 
prompt  and  honorable  dealing,  surpassed  by  no  other  Company  in 
the  annals  of  insurance. 


It  requires  no  825,000  Deposit  Law  to  make  such  a 
Company  worthy  of  confidence. 


- 79 - 


HAEPEL  S  TYPOGEAPH; 


80  — 


HARPEL’S  TYPOGRAPH. 


BORDER  DESIGNED  AND  FURNISHED  BY  MESSRS.  SMITH  &  PORTER,  GENERAL  PRINTERS,  BOSTON,  M*SS. 


I 


t 


OR,  BOOK  OF  SPECIMENS. 


e • ■ V* i i  iV» i  »  Vai s ■  ■ 


HARPERS  §§YPOGI{APH^ 


W.  S.  BROWN.  P.  CLEARY. 


A:g0»i% 

No.  20  Public  Landing, 

CINCXSKATX. 


- 82 - 


OR, 


)OOK  OP  ®PECIJPN[S> 


LITTLE  MIAMI,  COL.  k  XENIA,  and  MARIETTA  k  CINCINNATI  R.  R. 


No. 


Loveland ,  0. . 1870. 


Permission  is  hereby  given  to  THE  BEARER,  and  all  his  friends, 
to  travel  from  any  Station  on  the  L.  M.,  C.  &  X.  and  M.  &.  C.  R.  R. 
or  from  any  part  of  Clermont,  Warren,  and  Hamilton  Counties,  on 
foot,  to  the  OLD-ESTABLISHED  NEW  YORK  STORE  of 


9 


to  see  the  bargains  he  is  now  offering  in  all  kinds  of  goods  for  Ladies’ 
and  Gentlemen’s  wear. 


(WGOOD  TJUTIL  USED/ 


Lot . 

Size . 

Lot . 

Size  35 

Lot . 

Size  40 

Lot . 

Size  45 

84 


fur,  5§®isrl  ®£  ftpmiMjgm® 


-  H 
«-  y 


^9^>S^3<2*S^>&S&S*9^SCU5*l>^>&>&£k<^S^SSXl*3<3*Srt>&2XS*l*3'^^  ffl 

Td  ‘Hoanasxxix 

‘»ua3v  ‘AnMittOI  ’Ak  JttVmiM.  M  PI<>S 

•o  [Wei  ha  *MWS]  ‘NONYam  wojj 


Vd^XjX2/5v&^>'cX?<2/5vc>X>'36X2X5^^ 


cX9^x5\2X5vc>X>-D(?<2X5vc>-£KcX^ 


85 - 


%}nrycr$ 


ttjm'mi;  (tiamt  of  (®lurr. 


George  Davidson 

AND 

Joel  Drake, 

vs. 

The  State  of  Ohio. 


Thomas  Powell,  Attorney  for  Plaintiffs  in  Error. 


A  Writ  of  Error  was  allowed  in  this  cause  in  vacation  return¬ 
able  before  the  Supreme  Court. 

The  defendants  below  were  indicted  by  the  Grand  Jury  of 
Hamilton  County.  The  indictment  contains  two  counts.  The 
first  for  keeping  a  room  to  be  occupied  for  gambling,  etc.;  and 
he  second  for  keeping  and  exhibiting  apparatus  and  devices 
wherewith  to  play  at  games  of  chance  to  win  and  gain  money. 

A  “ nolle  prosequi' ’  was  entered  to  the  first  count  as  follows: 

“And  on  the  same  10th  day  of  July,  in  the  said _ 

term  of  June,  A.  d.  1869,  of  said  Court,  nolle  prosequi  SepagIC6°rd 

entered  herein,  by  order  of  Court,  as  to  the  first  count 

of  the  indictment,  at  the  request  of  the  Prosecuting  Attorney.” 

The  defendants  plead  to  the  second  count  of  the  indictment 
as  follows  : 

“And  afterwards,  to- wit:  on  the  10th  day  of  July,  in  said 
term  of  June,  A.  d.  1869,  of  said  Court,  this  day  came  the  Pro¬ 
secuting  Attorney  on  behalf  of  the  State  of  Ohio.  The _ 

defendants  coming  into  Court,  and  being  arraigned  upon  pa||ie5C*rd’ 
said  indictment  for  pleas  thereto,  say  they  are  guilty 
as  charged  in  the  second  count  of  the  indictment,  and  not  in  the 
first,  which  said  plea  is  accepted  by  the  Prosecuting  Attorney.” 

(3) 


Error  to  Court  of  Common  Pleas 
of  Hamilton  County. 


86 - 


MRS.  FRENCH 

Respectfully  announces  to  her  customers  and  the  general  public  that 

she  is  now  receiving 

Direct  from  Cincinnati, 

A  Fresh  and  Elegant  Assortment  of 


Which  she  will  be  pleased  to  show  to  all  who  may  favor  her  with 
a  visit.  The  latest  Styles  of 

Hats,  Bilks,  Flowers,  Feathers,  Laces,  Collars,  Cals, 

And  many  other  articles  of  Ladies’  Wear  will  be  found  at  her  store, 

in  great  variety,  and  at 

Very  Reasonable  Prices. 


Please  give  her  a  Call. 

South  Side  Public  Square, 

DANVILLE.  ILLS. 

—  87 - 


</- 


•IXVKKIOKID 
*S}$  J9|||UiyCBa  pUB  >JJ0^J3UJ03  '3 

‘xsiwaHO  aNV  xsioonHd 

‘^onojqsBH  ""j  'ui/y\ 

A8  A3N0  Q3aVd3ad 


.OO-QDQt)'-0OQ,0Qf0£yD£)fD  syootis 

HASBROUCK'S 

Inula  Troches* 

PURELY  VEGETABLE, 

A  pleasant  and  effectual  remedy  for 

®  ASTHMA,  HOARSENESS,  COUGHS, 

( i)  COLDS,  CROUP,  CATARRH, 

|  ^  And  the  various  affections  of  the  Lungs 
and  Throat. 


!i 

ll 

I 

$ 


102030 20  20  2>000‘(20(2GQ>0e 


o- 


DIRECTIONS: 

Take  from  one  to  three  every  hour  as 
required. 

Children  five  years  old  one-half  Troche. 


G- 


-N> 


WABRiA  WTED 

Free  from  Cubebs,  Opium,  Antimony,  or 
any  disagreeable  or  deleterious  drug. 


Harpel,  Printer,  Cin. 


88 


or,  Jook  ei  Specimens. 


■VIUE  STREET 

Cheap  Boot  /  Shoe  Store 


Corner  Vine  and  15th, 


m  vim 

Cincinnati ,  O. 


(L) 


89 - 


- 90 - 


OR, BOOK  OF  SPECIMENS. 


91 


‘firotjag  ft;tu|T?:trnl'.i;t(:^  \mv,  fian*UT;ttf 


TERMS,  CASH  WITHOUT  DISCOUNT. 


or,  Book  of  Specimens. 


V.eoeGeeee’f 


^‘Ge©oeeee'4 


kooocooeejf 


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93- — 


THE  STATE  OF  OHIO 


- 94 - 


or,  Book  of  Specimens. 


GEO.  W.  CORMANY, 

Justice  of  the  Peace. 

OFFICE: 

S.  E.  Cor.  Ninth  Street  and  Central  Avenue. 


Docket  No. 

Returnable .  18 


vs. 


Plaintiff  will  take  judgment  if  you  fail  to  appear. 


for  .  .  .  .  $ 

Justice's  Fees,  . 


Constables'  Fees, 


(A  TRUE  COPY.) 


Constable. 


- 9S - 


\ 


ARP  EL’S  fpYPOGRAPH; 


ft 

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- 96 


'Wy*  Harpel’s  Typograph. 


iCw^s  ftgHEA, 

MANNFACTttlt  OF 

NsilSUeh  OottOMdll 

AND 

swan  tow  mm, 

tower  Five  Mills, 

aqNMMt  %  a,  s.  wan,  MANYUMS,  !?&, 


Importer  anil  Dealer  in 


ITranoh  Brandiet, 

WINDS,  CORDIALS,  fee. 


B8  OnwiM  Utewtt 

TICS.  BELDEN,  Aput,  NEW  YORlL 


OR, 


-B  ook  or 


Specimens. 


44  RANDOM  RHYMES. 


8  p  q  k;  e  , 

u  watch  the  gossamer  wreaths  that  rise 
X  From  the  fragrant  folds  of  my  good  cigar, 

And  dream  of  the  Cuban  isle  that  lies 
*  Ever  embraced  by  the  seas  afar, 

Where  the  palm-trees  cast  their  shadows  long, 

’Neath  the  cloudless  blue  of  the  tropic  skies, 

And  the  Creole  senoritas  throng 

To  gladden  the  eve  with  their  starry  eyes. 

I  dream  of  a  damsel  whose  orbs  of  jet 

Once  fettered  my  heart  with  their  mystic  power, 
And  woke  a  feeling  that  lingers  yet, 

As  I  sit  and  smoke  in  the  twilight  hour. 

Ah,  me,  how  often  mid  orange  groves 

We  wandered  away  in  that  vernal  land — 

Unto  paths  where  elfish  Cupid  roves — 

With  the  perfumed  blossoms  on  either  hand. 

’T  was  there  her  fingers  so  deftly  formed 
The  delicate  cigarettas  for  me, 

And  hers  was  the  glance  that  flashed  and  warmed 
With  its  fire  the  passion  it  would  not  see. 

And  free  of  fancy  she  rambled  so, 

Till  the  groves  were  laden  with  globes  of  gold, 

In  that  Spanish  island  all  aglow 

With  its  sunny  memories  manifold. 

And  then  I  sought  for  Inez  again, 

Resolved  to  tell  her  the  story  of  love — 

1  waited  from  eight  o’clock  till  ten, 

Like  a  lone,  disconsolate  turtle-dove: 

Rut  she  came  no  more  as  in  the  past, 

To  strengthen  the  tie  that  her  absence  broke, 

So  I  lit  a  mild  cigar  at  last, 

To  solace  the  hopes  that  ended  in - smoke! 

O.  H.  H. 


-  97 


Harp  el’s  Typograph; 


Adam  B.  Robbins, 

(  Late  of  ROBBINS  &  POSEY,  Cincinnati,) 

Manufacturer  of  and  Dealer  in 

BOOTS  &  SHOES, 

16  High  Street, 

Webster  Buildings,  BOSTO  N  . 


- 98 - 


or,  Book  of  Specimens. 


HARPEL’S  TYPOGRAPH 


OR, BOOK  OF  SPECIMENS. 


( Cincinnati , 


'187 


Tear  Sir: 

We  take  pleasure  in 
informing  you  that  our  Me,  M,  M ,  Meib  wilt  call 
upon  you  on  or  about  the  inst. 

Appreciating  the  favor  of  your  trade,  and  de¬ 
sirous  of  continuing  it,  we  trust  you  will  witljljold 
your  orders  for  any  goods  in  our  line  until  bis  ar¬ 
rival. 

Yours,  Truly, 

snider  &  McCall. 


101 - 


Ha?'pers  Typ  off  rap  h  j 


JULY  Isi,  1870. 


PHI!]  If  IX 

White  Lead  Works, 


[  Established  1837.] 


Eckstein,  Hills  &  Co. 

PROPRIETORS, 

Corroders  and  Manufacturers  of 


CINCINNATI,  O. 


OFFICE,  No.  171  Race  Street, 

FACTORY,  West  Eighth  Street. 


- 102 - 


or,  'Book  of  Specimens . 


Quotations  Net,  and  subject  to  fluctuations  of  the  market. 

TERMS  CASH  WITHOUT  DISCOUNT. 

<-  >i= - > 

Kegs  of 
25,50, 100, 
200  &  350 
pounds,  <t 
upwards. 

25  lb.  tin 
pails  in 
Cases  of 
100 

pounds. 

White  Lead  in  Oil. 

Eckstein,  Hills  &  Co.’s 

CENTS. 

CENTS. 

“Phcenix”  Brand,  (perfectly  pure,) 

112 

12 

We  also  prepare  the  following  Brands  of 
White  Lead ,  which  for  whiteness,  body,  and 
durability,  are  unequaled  by  any  in  the  mar¬ 
ket  at  corresponding  prices: 

Lawrence  &  Co.’s  “  Pure,” 

102 

11 

“  “  “Superior,” 

92 

10 

“  “  Imperial,”  . 

He* 

00 

9 

“  “  “Columbia,” 

8 

82 

“  “  “Ohio,” 

72 

8 

“  “  “Challenge,”  . 

62 

7 

(A n  advance  cf  y2c.  per  lh.  on  orders  less  than  one  [1]  tun.) 

Zinc  White,  in  Oil. 

Genuine  French  Zinc  White,  . 

122 

13 

Parlor, . 

11 

112 

Imperial, . 

10 

102 

Dry  White  Lead. 

Pure  White  Lead,  in  bbls. 

11 

In  boxes  of  25  and  50  lbs.  full  weight. 

112 

Pure  Red  Lead. 

In  bbls.  2  bbls.  and  200  lb  kegs, 

10 

in  boxes  of  25  and  50  lbs.  full  weight, 

(An  advance  of  lc.  per  lb.  on  all  orders  for  less  than  500  Its.) 

— 

lot 

- 103 - 


Harpers  Typograph; 


^  Soiree  Daa 

V  AT  ODD  FELLOWS  HAUL, 

Thuf^sd^y  Evening,  Febf^u/\ry  17th,  1870. 


HBTB-1J/S  BA3S8-, 

r/o0r.  ...  . 


6e 


called  at  8 ’4 


,c\ocV-^e 


or,  Book  of  Specimens. 


DEPOSITED  BY 


Cincinnati, 


187 


Checks  on  Banks  in  this  City  deposited  with  us 
after  Half-past  One  o’clock,  CANNOT  BE  COL¬ 
LECTED  UNTIL  THE  ENSUING  DAY,  and  are 
taken  at  the  risk  of  the  Depositors  until  collected. 


DOLLARS. 


Notes , 
Specie, 

Chech , 

66 

*6 

66 

*  * 

66 


CENTS. 


At.  Parker’s  JVew  Grove 


^arpel’s  Jypograph; 


h 


BOND  £  BIDDLE, 
J/tiipi-rh'n  mu!  Jhhkn  of  <TeF„ 

N.  E.  Corner  Fron  t  and  Chestnut  Streets , 

&  ^y^ondaemeH/  /S$cmc/,'\ 


nytomeijp  t^oona,  ~| 

'f.Jk/tbn  X’M.  I 


'itiaaetfmm. 

Presented  by  WM%  J**®  CO  O  PER . 


GREAT  WESTERN  HA.jNOXIMGr  CLUB, 


Commitiet  of  Hrranjstnttnis : 

C.  Esberger,  J.  Dreher, 

Th,  Lf.tzler,  G.  Froehlich, 


IM-AUsT .AG-EIRS  : 

G.  Thif.i,,  W.  R.  Smith, 

G.  Stutzman,  Wm.Voll, 

C.  W.  Adams,  Thos.  Coughlin, 

C.  Heeg,  Ciias.  Smith, 

J.  Essel,  C.  Hesle, 

L.  HEIL,  Chief. 


V. Saeger, 

M.  Steinauer, 


J.  Maxne, 
A.  Vole, 

G.  Long, 
Wm.  Cook, 
C.  Wuest. 


G.  ZIMMER,  Ass’t  Chief. 


S  C  H  W  IE  IB  IE  IPS  BANT). 


SECOND  GrXXAINID  ANNIVERSARY  PIC  NIC, 


106 


or,  JBook  of  Specimens. 


— -107 - 


HARP  1  L’  S  I  Y  P  0  0  R  A  P  H  ; 


AN  ACCOUNT 

OF  THE 

Remarkable  Occurrences 


IN  THE  LIFE  AND  TRAVELS 


Col.  James  Smith, 


D print,  irrs  C APTtvrTY  with  the  Indians,  in  thf.  Years 
1 7 5 5 ’  ’56,  ’57,  ’58,  &  ’59. 


With  an  Appendix  of  Illustrative  Notes. 


By  WM.  M.  DARLINGTON, 

OF  PITTSBURGH. 


CINCINNATI: 

Robert  Clarke  and  Company. 
1 870. 


- 108 


r 


Tq)c?S> 
G?<  ^1«SW) 
JWa&fiP 

'm 


ikikkikktt 


History  and  Improvements, 


on 


PLACES  Of  SEPULTURE, 


CINCINNATI  : 

Robert  Clarke  and  Company 


% 


V' 

§ 

I 


-  109 


HaRPEL’S  Typogeaph; 


- HO 


CO 


© 

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—  Ill  — 


jl|e  j]e&t  jjercantile.  {] ard,  and  general  printing  oi  every  |escription, 


@m„  0>W  IfieilHli. 


SPICKER'S  ILLUSTRATED  CATALOGUE. 


Per 


POLISHED  IRON  WARDROBE  HOOKS. 

1  1]-  n  If  2  2}  3  in. 

Without  Knob,  .  per  gross,  $1.00  1.10  1.20  1.30  1.40  1.50  1.60 
With  “  .  .  “  1.30  1.40  1.50  1.60  1.70  1.80  1.90 


POLISHED  IRON  SCREW  OR  DRIVE  HOOKS. 

1  If  U  If  2  2f  2\  in. 

Per  gross,  ■  .  .  .  .  35  40  45  50  55  65  75  cts. 


(o) 


gross, 


$2.90  3.10  3.40  3.70  4.00  4.50  500  5.50 


POLISHED  IRON  GATE  HOOKS. 


-113 - 


Harp  el9 8  Typography 


SURVEYORS’  AGENCY  DEPARTMENT. 

§•  §ratn$, 

— WITH — 

^CEnix  Jnsuk^cE  fOMP^^Vy 

Hartford,  Co0*’ 

lnct>  Office — No.  24  West  Fourth  stie 
CINCINNATI  . 

4,15  Vine  Street,  between  Ninth  and  Tenth. 


{  Fred.  Waterman. 
*  $  Louis  Ballenberg. 


FRED.  WATERMAN  &  CO. 


DEALERS  IN 


__i#  dvsbM  mmm  wwm®®m9 

No.  273  VINE  STREET, 

Wholesale  and  Retail.  CINCINNATI,  OHIO. 


Agents  for  Geo.  P.  Prescott's  Celebrated  Smoking  Tobacco. 


Di/MOKD  I  UK,  — 33 £ s t  anil  Cbtaprst 

IN  USE. 

Manufactured  by  I  ^  M  0  jM  D  IjNK  jj  0  JVI  Py\  N  Y,  PITTSBURGH,  Pa. 

Works,  Corner  First  Avenue  and  Ferry  Street, 

B.  F.  H.  LYNN,  Gen’l  Agent. 


- 114 - 


or }  Book  of  Sp  e o  i m e  a  s 


Bromide  of  Chloral, 


Mr 

tp, 

_j> 

f  u i  uiimuc  mi  wHinvraaip 

tf  For  the  Immediate  Relief  of 

■1-  CP 

Headache,  Neuralgia,  Nervousness,  Sleeplessness,  cfe 
Epilepsy,  Delirium  Tremens,  and  all 
Diseases  of  the  Nerves. 

DIBECTIONS: 

In  case  of  Violent  Headache,  take  a 
tablespoonful  in  a  little  water;  If  no 
relief  is  experienced  in  one  hourxepeat 
the  dose.  In  case  of  Sleeplessness,  take 
two  tablespoonsful  on  retiring.  In 
case  of  Epilepsy  and  Chronic  Affec¬ 
tions  of  the  Nerves,  a  tablespoonful 
three  times  a  day  will  be  sufficient. 

In  case  of  Delirium  Tremens,  give  ta¬ 
blespoonful  at  once,  and  repeat  if  not 
relieved  in  one-half  hour. 


PREPARED  BY 


|d  w.  h. 

Apothecary, 

N,  E.  COR.  SIXTH  AND  MOUND  STREETS 

_cjV  Cincinnati. 


& 

% 


o 

m 


Cincinnati , 

ME€E£TE&  §ut\cm^ 

in  good  order  by 
to  be  delivered  at 

in  like  good  order  and  condition  to 

Marked : 


i 1870 . 

ord  d  (f  iller, 


ARTICLES. 


WEIGHT. 


- 115 - 


\^s.  Company,  Hartford  n 

’  ('O, 


INVITATION  TO  RECEPTION — DOTTED  LINE  ACROSS  CENTRE  INDICATES 


Richland,  Ky. 


116 


(  COVER  OF  BRIEF.) 


ttpent^  Ofo u rt  of  dDhio. 


BRIEF. 


Ex  parte  Joseph  Lytle, 

Habeas  Corpus. 

Utotion  for  ^Ilotoairte  of  Mrit  of  Crror  to  J)robafc 
Court  of  #bio. 


T.  A.  O’  CONNOR,  Att’y  for  Relator. 


- 117  — 


<§  n  i'  p  c  T  8  1  ij  p  o  ij  r  (i  p  II ; 


T 


S 


E  NGLISH  Po  E  T  R  Y. 


With  jf { lustrations  bii  ( feat  Artists. 


1  Then  came  the  magic  of  a  poet’s  name. 

Like  light,  upon  my  fancy  j  and  I  sat 
Brooding  for  hours,  amid  sequestered  nooks. 
On  all  the  mighty  masters  of  the  lyre.” 


LONDON: 

T.  NELSON  &  SONS,  PATERNOSTER  ROW 

EDINBURGH;  AND  NEW  YORK, 

1  87  0. 


118- 


tcnbrt,  IN  GOOD  ORDER  AND  CONDITION,  OF 


HARPER'S  TYPOCRAPH 


-  120 - 


OR,  BOOK  OF  SPECIMENS. 


Queen  City  Printing  Ink  Company, 

DeGQLYER  &  RYCHEN,  Proprietors, 


(p)  - 121 - 


Carpel’s  ®spo  o-rajil); 


b-o «  OFFICE  OF  j tr&a 


Successors  to  Diebold,  Rahman  it  &  Co. 

—  MANUFACTURERS  OF  - 

Jtjire  and  burglar  |proof  ^afes, 

-  AND  :— 

Patent  Combination  Bank  Locks, 

Cincinnati; . 787 


OFFICE  O  IF1 

Addy,  Hull  &  Co. 


!We  hand/  herewith 
paper  as  -named/  lelow;  for  credAt  on  account  ddron 
(dales.  dPlea/se  acknowledge  receipt. 

DATE.  TIME.  DRAWER.  AMOUNT 


- 122 - 


or,  33  o  ok  of  Spr  cintnts. 


We  regret  to  find  your  Agency  among  those  reporting 

for  the  month  of  MA  F ,  and  our  sympathies  are  zvith  you.  for 
zee  are  zvell  azvare  it  afforded  you  no  pleasure  to  be  compelled 
to  close  the  Fiscal  Fear  zvith  a  blank.  We  shall  be  very  glad 
indeed,  to  have  you  begin  the  new  Fear  zvith  business  to  report , 
and  the  month  of  June  zvill  be  a  very  proper  season  for  such  a 
display  of  energy  and  determination,  as  zvill  zvipe  out  the  cipher  \ 
mark,  now  against  you,  for  MA  F. 

\  I 

OFFICE  OF 


dtlcabclanb,  J^mufrbtKr  ft  Jjjojmstflit, 


& 


/d 


We  hand  herewith 

statement  of  your  account,  for  which  please  execute  notes  in  set¬ 
tlement,  to  the  order  of  parties  designated,  and  enclose  to  us 
at  your  earliest  convenience .  Your  prompt  attention  will  con¬ 
fer  a  favor. 


— 123  — 


- HAS  1’  K  I . '  S  T  VJ'OfiliM-H;  ;• 


To  Appeentices  [ 

Many  elegant  devices  may  be  produced  from  Rules  and  Borders  for  Fancy  Work, 
with  slight  labor;  all  that  is  required  is  a  will  and  a  little  brain-work. 

This  page  is  but  a  trifle  to  what  may  be  done. 

Aim  to  accomplish 
and  excel ! 


— —  «k  fl](,  BOOK  •OF  SBlOSEMUSS.t*-- 


W)BtK<i«  TH«.  141 


'*0 


tH 


E  R  LY  LOVE,  RELIEF)  *  **  D 


^Brother 

McMillan  Xodge,  fff°X£d ,XS .  tip  Sf. 
wall  meet  in  Social  Xfe-umon ,  at  Masonic  Temple, 
on  Saturday  Evening,  Map  7th,  d S  7  G . 

Yourself  and  Xadp  arc  respectfully  invited  to 
be  present. 


M*  IF.  w.  m. 


31.  pB.  Cohort, 


114,  P-  M. 


- 125 


SYRUP 


FOR  THE  IMMEDIATE  RELIEF  OF 


Headache,  Neuralgia,  Spasmodic  Asthma,  Epilepsy, 
Nervousness,  Delirium  Tremens, 


And  all  other  Diseases  of  the  Nerves. 


[Hue  great  success  attending  the  introduction  of  the  HYDRATE  OF  CHLORAL 
^  in  the  above  diseases,  has  induced  the  undersigned  to  introduce  this  preparation  to 
the  public. 

It  is  composed  of  Bromide  of  Potassium  and  HYDRATE  OF  CHLORAL  dis¬ 
solved  in  Syrup. 

Bromide  Potassium  has  been  used  for  years  in  nervous  diseases  of  every  form.  In 
Epilepsy  and  Neuralgic  Headache  it  has  been  proved  a  specific. 

HYDRATE  OF  CHLORAL  is  a  new  remedy,  lately  introduced  to  the  notice  of 
the  profession  by  Dr.  Liebreich,  who  found  it  highly  beneficial.  It  is  found  to  differ 
most  materially  from  the  old  narcotics,  in  producing  no  bad  effects  as  sickness  at  the 
stomach  and  other  disagreeable  symptoms  after  its  use. 

No  remedy  has  ever  been  found  to  produce  healthful  slumber  so  speedily,  and 
thereby  relieve  pain. 

It  relieves  pain,  irritation,  nervous  excitement,  and  morbid  irritability  of  body  and 
mind. 

It  produces  no  eostiveness,  no  derangement  of  the  constitution  or  general  health; 
hence  its  superiority  over  Laudanum,  Morphia,  or  Opium  in  any  form. 

To  speak  summarily,  this  preparation  as  a  remedy  may  be  adopted  in  all  cases 
where  Opium  or  its  preparations  are  administered,  without  being  followed  by  their  dis¬ 
tressing  and  pernicious  consequences. 


PREPARED  BY 

w,  m, 

Apothecary, 

NORTH-EAST  CORNER  SIXTH  AND  MOUND  STREETS,  CINCINNATI,  0. 


- 126 


HARPEL'S  TYPOGRAPH; 


D  uncans,  Ford  &  Elder, 

WHOLESALE  GROCERS, 

-  AND  - 

Commissiokt  Mebchaktts, 
Ala.  69  <V[i«e  Stt?E-etr 

P  I  N  C  I  N  N  AT  I  ,  p. 


it/e. 


'■muemm .  • 


fl 


'  e  /and  ptm  f/e  ^aatafdnd  p/  Me 
fdatdef  ed: - 


Yellow  Root,  ■ 

Reel  or  Blood  Root,  ■ 
Lady  Slipper, 

May  Apple, 

Seneca  Snake  Root,  ■ 
Virginia  or  Bl’k  Root, 
Beth  Root,  ■ 

Anglica,  .... 
Spikenard,  ■ 

Indian  Turnip,  ■ 
Sassafras  Root  Bark, 
Ginseng, 


Bees  Wax,  ■ 
Feathers, 

Tallow, 

Wool,  tub  washed, 
unleashed,  ■ 
Flax  Seed,  ■ 

JYavy  Beans,  ■ 
Com.  White  Beans 
Flint  Hides,  ■ 

Dry  Salt  ■ 

Green 

Dried  Beaches,  ■ 
Apples,  ■ 


128 


OFFICE  OF 


Addy,  Hull  8f  Co. 


No.  1  Hot  Blast,  Charcoal, 

“  2  “  “  “ 

Mill  “  “  . 

Iron  Mountain  Hot  Blast,  Charcoal, 
No.  1  Hot  Blast,  Stonecoal, 


/c-  i/ay  y/uSf 


TIM  IKON 


“  2  “  “  “ . . © 

“  3  “  “  “ . . 

Mill  “  “  “ .  ©. 

Cold  Blast,  Charcoal,  (No.  1,  2,  Mottled,  and  White,)  (ay 

Iron  Mountain,  Surface  Ore,  Malleable,  ... 


7fe  y cl  lycul  je/ccAou  //te  ZZZZlanfZ,  ccm^Uttiny  //ie  ytic- 

dttcfiwu  Y  OHIO.  INDIANA,  KENTUCKY,  TENNESSEE,  MISSOURI,  ALABAMA 
fin  </  MISSISSIPPI: 


MONROE, 

WASHINGTON, 

MONITOR, 

IRON  MOUNTAIN. 
IRONDALE, 

ROUGH  AND  READY, 


HOT  MAST,  Charcoal . 


HAMDEN, 

LATROBE, 

LAWRENCE, 

KENTON, 

BOONE, 

CUMBERLAND, 


MADISON, 

BLOOM, 

EAGLE, 

CENTRE, 

LA  GRANGE, 
YANLEER, 


HOPE, 

ETNA, 

GALLIA, 

LIMESTONE, 

CLARK, 

BUFFALO. 


KENTON, 

WESTERN, 

STAR, 


HOT  MAST,  Stonecoal . 


KINGSLAND, 

VICTORIA, 

HUNTINGTON, 


MASSILON, 
SWIFTS, 
SCOTCH  PIG, 


ORANGE, 

FULTON. 


COIA)  BLAST ,  Charcoal . 

IRON  MOUNTAIN  CAR  WHEEL,  BIBB,  MISSISSIPPI, 

IRON  MOUNTAIN,  SURFACE  ORE,  MALLEABLE,  LINCOLN,  LAKE  SUPERIOR. 

MAR  AMEC, 


q) 


- 129 


Harpel’s  Typograph; 


BARGELT  &  VOGES, 

Dealers  In 

Hardware  &  Iron, 

COLLEGE  CORNER,  O. 


A  full  assortment  of  Builders’  Hardware,  Carpenters’  and 
Wagon  Makers’  Tools, 

CONSTANTLY  ON  HAND. 


WHISKY,  ^' 

1  FROM 

Brachmann  &  Massard,  )k 

©•  M 

Ip.  cxi<rcxisrisrJft.Tx.  -<$'X 

f  f  FBOM  ^_r>-  y 

L\  f,  Brachmann  &  Massard,  kV  /j 

Vs,. 

near 

- 130 - 


or,  Book  of  Specimens. 


Ha  rpcl’s  Typograpli ; 


GOLDEN 

S  II  E  R  R  Y. 

Braclimann  &  Massard, 

81  WEST  TUXE-X)  STIR-EET,  3STE.&.I?,  VIKE, 

CINCINNATI,  O. 


C!1 


10  ILLINOIS  AGENTS, 


Ohio  Premiums  in  I860.  ....... 

Ohio  Tosses  in  1SG9 . 

NET, 


Illinois  Premiums  in  JSG9, . 

Illinois  Losses  in  IS  GO, . 

NET, 


.  $170 ,936. OG 
53,475.82 

$  1 17, Ml.  11 

$113,158.62 
48, 999.52 

$04,150.10 


The  Phoenix,  with  its  unrivalled  agency  organisation,  should 
do  a  match  larger  business  in  Illinois.  Thus  far.  for  the  cur¬ 
rent  year,  indications  are  entirely  satisfactory. 


I 


- 132  - 


or.  Book  of  Si>t*<*lmen«. 


w/ZAWVv- 


G  o  Men  Sh  et  'ry. 

<> 

Brachmcmn  &  Massard, 

.1  b.  81  West  Third  Street,  near  Vine, 
CINCINNATI,  OHIO. 


N/nnitrt/  f  J/e  ( 


ire  Mitten  etnet 


SSfaaWe  Me, 


■t//  t/t<  ^/iceem/d  r/  Q/'i  .  ^c/ni  ,  neat  ^/enunce/ c  Sftttltct 


'STeeeic/ay  &c/cdci  ?l It/ , 


OPENING  SERVICES,  SUNDAY,  FEBRUARY  27TH,  1870. 

SUBSCRIPTION,  $. 

NAME, 

RESIDENCE, 


- 13S - 


Harp  el's  Typograph; 


Particular  attention  paid  to“Styie.” 


Eg 


J  e- 


Cash  Capital,  $1,000,000. 

(Corporators  aiti)  (Commissioners : 

Robert  Buchanan,  Alfred  Gaither,  Augustus  Wessel, 

Jos.  C.  Butler,  H.  A.  V.  Post,  Alexander  Long, 

A.  D.  Bullock,  Robert  Mitchell,  C.  W.  Moulton, 

Sam’!  N.  Murphy,  J.  B.  Bennett. 

Office,  118  "West  Fourth  Street. 

(over) 


- 134 - 


or.  Book  of  Specimens. 


CINCINNATI, 


201  VINE  STREET. 


8 Y  GEORGE  BARNARD,  CINCINNATI. 

- 1 35 - 


BORDERS  DESIGNED  AND  FURNISHED  BY  MESSRS.  SMITH  &  PORTER,  GENERAL  PRINTERS.  BOSTON.  MASS. 


IN  WITNESS  WHEREOF ,  The  Owner,  Master,  Agent,  or  Clerk  of  said  Boat  hath  affirmed  to  Bills  of  Lading, 

all  of  this  tenor  and  date,  one  of  which  being  accomplished,  the  other  to  stand  void. 

Dated  at  CINCINNATI,  this  dav  of  187 

fg§“All  Alterations  and  Exceptions  VOID  unless  consented  to  and  signed  by  Shippers. 

MARKS.  ARTICLES.  WEIGHTS. 


or,  Book  of  Specimens.  nlW' 


(R) 


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HARPEL’g  TYPOQRAPHj 


WILL.  H.  BUCHER, 

—  WITH  — 

w  ILLIAM  R.  Cox  &  Co. 

PAINTS. 

173  Race  Street,  CINCINNATI. 


Slaub  &  JD.a.'Y', 

Ip  mm  0 11b  Setters, 

AND 

Manufacturers  of  Fine  Jewelry, 

58  West  Pourtfe  Street, 

SECOND  FLOOR.  CINCINNATI. 

SPECIALTY-ORDERED  WORK. 


Diebold  &  Kienzle, 

(Successors  to  DIEBOLD,  BAHMANN  &  CO.) 

Manufacturers  of  Improved 

Fire  and  Burglar  Proof  Safes, 


Patent  Combination  Bank  Locks, 


88,  90  &  92  Elm  St.  bet.  Second  and  Pearl, 


C.  diebold.  I 
J.  KIENZLE.  1 


CINCINNATI,  O. 


- 138 


OR,  BOOK  OF  SPECIMEN  g. 


CEREMONY  CIRCULAR  -  LINE  OF  FOLDING. 


Jj|.  Jl.  rforntr  j|lm  nub  JStrfits, 


Tljui'sda y  Evening,  'October  '13 It),  7 870 , 

AT  VtihfrGK. 


- 139 


OR,  BOOK  OF  SPECIMENS. 


Cincinnati .  -i 87 


j 

§e ceivnil  of]  WbMm  S 

From 

tons  Pig  Iron. 


- 141  - 


J) a r p e f’ s  lijpograpft; 


outhern  Insurance  |ompany 


JMeW  'Q^LEANg,  J3ePT.  1870. 

Dear  Sir: — 

Your  favor  reporting  no  business  for  the 
month  of  August  has  been  received,  and  the  fact  duly 
entered  upon  our  books — blank  number  one  for  the  Fall 
term.  Such  things  at  times  will  occur,  but,  by  faithful 
energy  and  active  enterprise,  it  is  to  be  hoped  a  frequent 
repetition  may  be  avoided.  This  Company  intends,  if 
possible,  to  DOUBLE  its  premium  receipts  for  1871,  as 
compared  with  the  figures  of  the  previous  year,  and  for 
this  increase  we  look  mainly  to  agencies  which  heretofore 
have  not  made  substantial  progress.  There  is  no  more 
popular  Company  in  the  South  than  the  time-tried  and 
fire-tested  SOUTHERN,  nor  one  possessing  greater  claims 
to  public  patronage. 

We  desire  your  aid  in  making  good  our  estimate  of 
the  year’s  business. 

Respectfully, 


€.  S.  » 


President. 


- 142 - 


or,  $00 1  of  Specimens. 


WM.  MEITZLER, 

with 

Diebold  &  Kienzle, 

Manufa&urcrs  of 

Fire  and  Burglar  Proof 

SAFES, 

Office,  No.  go  Elm  Street,  CINCINNATI,  O. 


St 


PPERASE  &  pOPERg' SUPPLIES, 


<$> 


*#  ria® 


Cincinnati.  0. 


A.  D.  Morrison. 


Harpel’s  Typograph; 


1  8  7  °  (So/>' 


n 

i 

j! 


With  this  pud  Tickler  of  risks  expiring  at  your  agency 
daring  the  month  of  JTJLY,  to  which  your  attention  is 
invited.  Examine  the  list  and  check  it  with  your  Record 
Book.  Guard  well  the  renewals ,  for  therein  is  wisdom  in 
these  active,  stirring  times. 

Of  NEW  business  much  is  offering — the  development  of 
weakness  and  impairment  in  some  companies  rendering  the 
old  and  strong  offices  more  attractive  to  property  owners  than 
ever.  Examine  such  business  carefully,  and  in  transferring 
it  to  Phoenix  Books ,  make  it  your  study  to  get  better  rates  than 
formerly  paid  to  cheap  institutions ;  for  risks  at  low  rates  are 
just  as  capable  of  injuring  the  Phoenix  as  any  other  office. 
Keep  up  the  rates:  earn  the  reputation  of  a  high-priced  agent, 
and  glory  in  the  fact  that  you  deal  in  Reliable  Indemnity 
rather  than  in  Cheap  Insurance. 

Be  it  yours  to  uphold  the  dignity  of  the  profession,  and 
add  reputation  to  the  present  high  position  of 


^  ESTABLISHED  1857 


- - 144 


or,  Book  of  Specimens . 


PARTY  INVITATION  -  LINE  OF  FOLDING. 


To  be  given  at 

|atonia  Springs.  fl|u.rgday  Evening,  August  1870. 


GEO.  ^  STEVENS,  Jf^O.  OVEI^M/iN,  GEO.  H.  DAVISOf^,  JI\0.  FELTH/US. 


- 145 - 


(s) 


Harpel’s  Typograph 


w- 


i 


4 


*1 


1 


i 


1 


i 


i 

d y 


1870.  JULY.  1870. 

The  attention  of  the  friends  and  patrons  of  the 

-  E  A  G  L  E  - 

Insurance  Company ,  of  Providence ,  A*.  /.  A«  respectfully  directed  to 
its  present  brilliant  and  prosperous  condition  as  revealed  by  its 

12tb  ^Financial  Statement. 

At  no  time  in  its  hitherto  successful  and  marked  career ,  has  it 
been  able  to  come  before  the  public  with  equal  claims  upon  their 
patronage.  For  past  liberal  patronage  we  arc  thankful the  public 
have  realized  the  benefits  of  good  insurance,  and  our  mission  has  been 
crowned  with  success.  Agents  of  the  FA  GLE  will  still  continue 
to  be  found  in  every  city,  town,  village,  and  prominent  settlement  in 
the  United  States, — from  the  Atlantic  coast  to  the  golden  shores  of 
the  Pacific  slope,  and  from  the  Gulf  of  Mexico  to  the  Northern 
Fakes, — ready  and  willing  to  attend  to  the  wants  of  property  holders 
in  the  line  of  first-class  insurance,  and  able  to  guarantee  indemnity 
of  the  order  which  stands  the  test  of  time  and  fire,  to  public  use  and 
private  satisfaction,  and  better  security  against  the  adversity  fire  so 
frequently  causes,  than  hoarded  gold. 

In  the  future,  as  in  the  past,  losses  will  be  paid  promptly,  business 
attended  to  with  dispatch,  all  classes  of  risks  accepted,  large  insur¬ 
ance  granted  where  values  justify  it,  rates  as  low  as  commensurate 
with  the  hazards  assumed  and  protection  of  the  assured,  and  nothing 
left  undone  on  the  part  of  the  management  to  make  the  EAGFE 
-worthy  the  confidence  and  pride  of  the  people ;  a  tower  of  strength  in 
the  day  of  calamity,  and  a  sure  refuge  from  the  angry  Fire-Fiend. 


We  deal  in  Reliable  Indemnity,  not  Cheap  Insurance. 


lit 


146 - 


or,  Book  of  Specimens 


,i - BE  VEEY  CAREFUL  OF  YOUE  CARD  PLATE, 

as  it  easily  becomes  scratched  and  corroded,  there¬ 
by  impairing  the  beauty  of  the  engraving.  You  will  find  it 
to  your  advantage  to  leave  your  Plate  in  our  charge,  as  our 
facilities  for  keeping  them  in  good  order  are  perfect. 

All  Plates  received  are  carefully  registered. 

SHIPLEY  &  SMITH, 

Practical  Engravers  ,  42  West  Fourth  Street,  Cincinnati, 


^fibing  anb  |]isittng  ^arbs  jngrabfb  anb  jjjrintrb  in  %  jatast 


tglre. 


SAMUEL  LOWRY.  WM.  J.  LOWRY. 

Samuel  Lowry  &  Co. 

LATE  LO'WK.Y  &  PATTEEiSOlT, 

Successors  to  J.  D.  LEHMER, 

COMMISSION  MERCHANTS, 

36  Vine  Street,  Cincinnati. 

PROVISIONS,  FLOUR,  GRAIN,  COTTON,  Etc. 


Stablitt  1829. 


Cincinnati  SScrftd)  crungSgefellfd)  aft. 

J-cutr  unb  Jllurttu. 

Office  oerlcgt  mid, 

o  .  8  1  esi  J)  r  i  1 1  c  -  iS  i  r  a  s  s  e  . 


SSejafOte*  ifapital  unfc  ttcbcrfdwfj  $220,000.00. 


©.  SB.  SBilJiottiS,  $ra(itciit. 


SBm.  ©albert,  ©efretnr. 
X.  ©tfljop  ©lement,  Sngeitieur. 


§enr!)  Soiling,  33efi$tiger. 


- 147 


- 148 - 


Qiffi,  B©©R  ©P  SPEetRl'ENlS. 


m 


)  ^ 


mac^z 


**  %^mne  *-«*, 

Woodward  Glub, 


iOPKIMS1  HUS 


ie:  hill 


Tuesday  Even’g,  November  1st,  1870. 


ry 

v 


i  r 
$»  v_ 


f® 


fay 


'  '<3 


,  Steffi*/ 


149 


H a rp  eV s  Typ <o g d 3  a ;/ 


,/ivNxnof  AHvwaxiq  < 

s(HNig  'Q  ,rJt,  01  sjaquosqng  aip 
‘pTJUupuiQ  iv  paqnquqsip  aq  oq  sqjiQ  jo  uopnquqsiQ 
1  aqq  ui  aau^qQ  auQ  oq  japjojq  aqq 


,/IVNHflOf  AHVMaXiq  4jj> 

°5  ‘^8*  ‘9  ‘°!MO  I 

jQ  jo  uopnquqsiQ  qqqSiQ  If 
i  sappua  qdpaa^  siqQ  III 


Post  Office, 

County, 

4-  | 

®  This  end  of  the  Receipt  must  be  returned  with  the  money,  to 
^  ij_  be  Registered,  before  the  day  of  the  Drawing. 

f»T — 


180 


I 


CO 


o  v 9  JB < o  €>  i/s  €>f  Sp  eci m e n  § 


FINE  CHEMICALS  AND  PHARMACEUTICAL  PREPARATIONS  OF  ALL  KINDS. 


^arpel’s  Jtpograph; 


MONTH  LY  STATEM  ENT. 


^mannat/' 


Folio 


CrEORCE 


EEDHI'M 


23  West  Fourth  Street. 


To  Mdse,  as  per  Bill  ren’ d, 


STAT1M3BSET, 

-  Cincinnati, 


i8y 


lit  Account  toitf) 


Terms  Net  Cash. 


S'^IJFCKq)  <p 

^Interest  charged  after  i»0  days./ 


STjATZEUVEIE  NTT. 


"pOLIO 


375  West  Third  Street. 


OP  CINCINNATI 


T U  E  *  *  ROWTIS  9  STREET  MsMEeWSi  I*  (fOMPdlJfYs  99  a  Corporation  under  the  Laws  of  the  State  of  Ohio,  acknowledges  its. 
indebted  to  Charles  Moran ,  of  the  City  of  Mew  York,  or  dearer ,  in  the  sum  oj  QRf  E.  THOUSAJTB  BBELARS ,  and  pror 
ises  to  pay  the  same  on  the  surrender  of  this  (Bond ,  on  *iii  first  day  of  March ,  eighteen  hundred  and  ninety,  at  the  dank  of  the  Ok 
Valley ,  in  the  City  of  Cincinnati,  Ohio,  with  interest  at  seven  per  cent,  per  annum,  payable  semi - annually ,  according  to  the  tenor  ai 
effect  of  the  coupons  or  interest  warrants  therefor,  hereto  attached.  This  (Bond  is  one  of  a  series  of  bonds,  250  in  number,  each  of  li 
amount,  tenor,  and  date,  authorized  by  a  resolution  of  the  (Board  of  (Directors  of  said'  Company ,  which  (Bonds  are  issued  for  the  purpc 
of  securing  advances  made,  and  to  be  made,  for  the  building,  completing,  and  operating  their  Railway,  and  the  principal  and  intere: 
of  which  are  secured  by  a  Rlodgaije,  or  (Deed  of  Trust,  to  Charles  Moran,  of  the  City  of  Jleiv  York,  duly  executed  under  the  authori 
of'  the  resolution  aforesaid,  and  covering  all  of  the  Railway  built,  or  to  be  built,  by  said  Company ,  in  the  City  of  .’Cincinnati,  Ohi 
being  about  six  and  three-tenths  miles  in  length,  with  all  of  the  appurtenances,  equipments,  and  rolling  stock  now  oivned,  or  hereafU 
acquired  by  said  Company ,  for  operating  said  Road,  and  also  including  the  income  and  franchises  of  said  Company ,  and  duly  recorde, 
in  trust,  to  secure  the  payments  of  said  (Bonds,  with  the  interest  thereon. 


said  “ Route  9  Street  Railway  Company have  caused  these  presents  to  be  signed  by 
their  (President,  and  attested  by  their  Secretary ,  under  their  corporate  seal  hereto  affixed,  this  first  day  of  March,  in  the  year 
eighteen  hundred  and  seventy. 


ereo) 


President. 


Secretary . 


Route  9  fistic et  fldilniuj  <fo. 

OF  CINCINNATI, 

Will  pay  the  bearer  hereof,  on  the  first  day 

of  MA»rn,  A.  P.  is!))),  at  the  Hank  of  the 

S 

Ohio  Valley,  in  the  City  of  Cincinnati.  O. 

THIRTY  FIVE  DOLLARS,  being  the  in- 

terest  for  one-half  year  to  that  date,  on  the 

above  Rond  of  said  Company,  No . 

Secretary. 

Route  0  fill  ed  R;ii In  , 111  (fo. 

Ci 

OF  CINCINNATI, 

Will  pay  the  bearer  hereof,  on  the  first  day 

ol  Septkmbkk,  A.D.  1889.nl  the  Bank  of  the 

*s 

Ohio  Valley,  In  the  City  of  Cincinnati,  0. 

THIRTY-FIVE  DOLLARS,  being  the  in- 

terest  for  one-half  year  to  that  date  on  the 

above  Bond  of  said  Company,  No .  1 

Secretary. 

c i 

§ontc  9  fitted  it, 11  In, in  (T 0. 

X: 

OF  CINCINNA  TI, 

Will  pay  the  hearer  hereof,  on  the  first  day 

■g 

°>  march.  A  D.  ISKO,  at  the  Bank  of  the  , 

OI110  Valley,  in  the  City  of  Cincinnati,  O.  ' 

THIKTY-FIVE  DOLLARS,  being  the  in- 

> 

terest  for  one-half  yearto  that  date,  on  the 

1 

above  Rond  of  said  Company,  No 

Secretary. 

A  SERIES  OF  FAMILIAR  SKETCHES. 


CHARLES  ADAMS.  D.  D. 


“  1  meditate  on  all  thy  works.” — Psalm  CXLlll,  5. 


Cl NC / N NA  TI: 

HITCHCOCK  AND  WALDEN. 
NEIV  YORK  '. 

CARLTON  AND  LANAHAN. 

1  S70. 


From  Printing  Office  of  Methodist  Book  Concern — R.  P.  Thompson,  Sup  t 


To  thee,  thou  tendril  of  my  heart ! 

That  clingest  around  it  still, 

In  every  season  of  our  life, — 
Whether  the  winds  of  chill  Adversity 
Bestrew  our  path  with  leaves, — 

Or  Ceres  pours  her  golden  horn 
Of  beauty  in  our  laps, — 

Or  in  the  shadow  of  our  days 
The  dewy,  laughing  eyes  of  Hope 
Throw  radiant  gleams  divine: — 


O  thee  I  dedicate  these  leaves, 

Torn  from  the  forest  nooks, 

When  blue-eyed  Summer  laid  her  hand 
Upon  the  wood,  and  through  its  limb's 
Breathed  living  joy  and  love. 


To  thee,  O  solace  of  my  soul ! 

My  gentlest  friend,  my  love  ! 
That  read’st  forever  to  my  heart 
The  tale  of  deep  and  patient  toil, 
Through  the  far  ways  of  life : — 


To  thee  I  dedicate  these  dowel's, 
Gathered  in  woodlands  gray 
Throughout  the  devious,  sunny  days, 
When  Dryads  sat  beneath  the  boughs, 
And  talked,  as  friends,  to  me  ! 


1  rom  Printing  Office  of  Methodist  Book  Concern — R.  P.  Thompson.  Sup' 


-  154 


Harp  el's  Typo  graph  ; 


pHAS.  INTeWBP^IGHT 

IGN  AND  pOUSE 

^rainer  etc. 


1^0.  686  -pAST  pREEN  ^Tf^EET, 

?T-  MW  >f*°- 


sBtj| sSSlsf 


“PHOENIX” 

Insurance  Company,  Hartford,  Conn. 


GEORGE  CLEVELAND, 

Surveyor, 


Office,  Public  Sqj_t  are, 


Bloomington,  Ills. 


- 1S6 


or,  (Book  of  Specimens. 


SIZE 


(flarcmlon. 


Manufactured  by  the  CEICAOO  PAPEE  COLLAB  COMPANY,  No.  69  Lake  Street. 


SIZE 


C  O  N  TENTS. 

- o - 

PAGE. 

I.  The  Mother  of  Reformers — Susannah  Wesi.ey .  1 

II.  The  Wife  of  Luther — Catherine  Yon  Bora . * .  23 

III.  Consecrated  Talents — Hannah  More .  39 

IY.  The  Missionary  Heroine — Ann  Hasseltine  Judson .  5! 

V.  The  Model  Queen — Isabella  of  Spain .  69 

VI.  The  Enigma  of  History- — Mary,  Queen  of  Scots .  83 

VII.  The  Female  Howard — Elizabeth  Fry .  95 

VIII.  An  Angel  of  Mercy — Florence  Nightingale .  109 

IX.  Africa’s  Benefactress — Mrs.  Ann  Wilkins .  125 

X.  Foundress  of  a  School  for  the  Prophets — Mrs.  Eliza  Garrett...  135 

XI.  The  Greek  Matron — Penelope .  145 

XII.  The  Roman  Matron — Cornelia .  157 

XIII.  Wife  of  the  Father  of  his  Country — Martha  Washington .  171 

XIV.  The  Indian  Maiden — Pocahontas .  183 

XV.  The  Poetess  of  the  Affections — Frances  Sargent  Osgood .  191 

XVI.  The  Songstress  of  Liberty — Elizabeth  Barrett  Browning .  199 

XVII.  The  Martyr  Queen — Maria  Antoinette .  221 

XVIIL  The  Female  Girondist — Madame  Roland .  243 

XIX.  Light  Sown  in  Darkness — Charlotte  Bronte .  283 

XX.  The  Missionary  Poet — Emily  C.  Judson .  295 

XXI.  Walking  with  God — Mrs.  Mary  Fletcher .  319 

XXII.  Exalted  Piety  and  Noble  Rank — Lady  Huntingdon .  331 

XXIII.  Piety  and  Royalty — Helena,  Duchess  of  Orleans .  343 

XXIV.  The  Martial  Heroine — The  Maid  of  Saragossa .  359 

XXV.  The  WTfe  of  Napoleon — Josephine .  367 

XXVI.  The  Champion  of  Freedom — Harriet  Beecher  Stowe .  377 

XXVII.  The  Female  Sculptor — Harriet  E.  ITosmer .  399 

XXVIII.  The  Female  Painter — Rosa  Bonheur .  417 


1S8 - 


OR  ,  ROOK.  OF  SPEC  MW  EN  S. 


Russet  Leaves. 


59 


XIII. 


Sprint) -Ijaustf  Acquaintances. 


LTHOUGH  a  pleasant  breeze  comes  from  the 
West,  and  passes  along  our  country  hills  and 
valleys,  undulating  the  fields  of  grain,  and  bring¬ 
ing  -eool  odors  with  it,  yet  sometimes  the  Summer  sun 
pours  down  a  heat  that  is,  perhaps,  as  sweltering  as  the 
reflected  sunshine  of  the  parched  and  dusty  city.  Occa¬ 
sionally,  the  wind  is  hushed — not  enough  stirs  to  sway 
the  lightest  gossamer  that  hangs  tremblingly  from  the  old 
roof  of  the  spring-house.  On  such  occasions  I  leave  my 
cozy  den  in  the  attic,  and  seek  the  cool  retirement  of  the 
limestone  building,  amid  pans  and  crockery-ware,  and  the 
quiet  whisperings  of  the  spring-brook. 

Water  dropping  from  high  places  or  gliding  over  peb¬ 
bly  surfaces  seems  to  have  a  peculiar  effect  on  the  atmo¬ 
sphere.  Visit  the  fountain,  where  it  spurts  up  far  into 
the  air,  falling  in  mist  and  spray  to  the  earth  again,  and, 
however  sultry  may  be  the  day,  you  will  find  the  air  in 
that  locality  awakened  into  magical  freshness,  and  the 
feverishness  removed  entirely  from  the  atmosphere.  So 
in  the  spring-house  :  as  the  breeze  of  this  pleasant  spot 


From  Printing  Office  of  Methodist  Book  Concern — K.  P.  Thompson,  Sup't. 


1  89  - - 


'WJ''5  Harpel’s  Typograph; 


OUR 


Oriental  Missions. 


volume  i. 

INDIA  AND  CHINA. 


EDWARD  THOMSON,  D.  D.,  LL.  D., 

Late  Bishop  of  the  Methodist  Episcopal  Church. 


C  INC  INN  A  TI: 
HITCHCOCK  AND  WALDEN. 
NEW  YORK: 

CARLTON  AND  LANAHAN. 

1870. 


From  Printing  Office  of  Methodist  Book  Concern — R.  P.  Thompson,  Sup’t. 


$aiipel's  tp y pop i; a p h 


or,  Book  of  Specimens,  nW' 


fill  lit.  {’.fill  lilt)  |l. 


B^tSTICEIR,, 

112  West  Fourth  Street,  Cincinnati. 


C/jas.‘Gr.  Cannon , 


Daniel’s  ^yiiogrcipfi; 


OL8I  1SQOI1V  *103  xsn  30XHd  3AOXS  S.ANVdHOD  V  HOS3H  MVITOAl 


162 


163 - 


Harpbl's  Typography 


Wm.  DODD  &  Co. 

Wholesale  Dealers. 

HATS,  CAPS,  FURS,  GLOVES, 

Corner  Vine  and  Pearl  Streets, 
CINCINNATI. 


Cincinnati,  August  15th,  1870. 

We  shall  be  prepared  this  Fall  to  offer  our  customers  a 
complete  stock  ot  goods  in  all  the  departments  of  our 
business,  viz  : — Hats  and  Caps  of  all  kinds  ;  Ladies’  and 
Gentlemen’s  Furs  ;  Buck,  Sheep,  and  Kid  Gloves. 

* 

Prices  will  be  as  low,  and  terms  as  liberal  as  those  of 
any  house  in  our  line.  We  purchase  exclusively  for  Cash, 
from  first  hands,  and  manufacture  extensively  ourselves, 
consequently  are  enabled  to  offer  superior  inducements 
to  Cash  and  Short-Time  buyers. 

We  hope  to  see  all  our  old  friends  and  a  great  many 
new  ones. 

WM.  DODD  &  CO. 

Corner  Vine  &  Fear!  Streets. 


- 164 - 


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chmann  &  Masss 

STEST  THIRD  STREET,  1 

Cincinnati,  Ohio. 

\  Harpel,  Pr.  Cin.  j 

The.  Larr/est  Job  Trinti ut/  Kstablishment  in  the  United  States 


ob,  Book  op  Specimens. 


— -  165 - 


Harpel’s  Typograph; 


LOTJIS  RIFKA, 

MANUFACTURES  OF 

Nonsuch  Cottonad.es 

AMD 

SUPER,  LONG-  CLOTHS, 

Lower  Five  Mills, 

Represented  by  R.  S.  WILEY.  MANYUlTK,Pa. 


JOHN  GATES, 

Importer  and  Dealer  in 

French  Brandies, 

WINES,  CORDIALS,  &c. 

58  Greenwich  Street, 

THOS.  BELDEN,  Agent.  NEW  YORK. 


- 166 


or.  Book  of*  Specimens. 


For 


51 


1 


Merchant  Tailor, 

61  Wmmt  PsBPfli  S)cip®®ilf, 

LOUISVILLE,  KY. 


% 


l 


167 


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CHANBLER’S  ji 

iloroiyne 


re  pared  according  to  the  formula  pub¬ 
lished  in  the  Cincinnati  Journal 
of  Medicine,  May,  1866. 


AN  INVALUABLE  REMEDY  IN 

CHOLERA, 
CRAMPS,  COLIC, 
NEURALGIA,  SPASMS, 
DIARRHCEA, 

DYSENTERY,  DELIRIUM, 

etc.,  etc. 


Used  in  all  the  principal  Hos¬ 
pitals  in  Europe  and 
America. 


None  genuine  without  the  written  sig¬ 
nature  of  the  proprietor, 


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- 168 - 


o  r ,  f)  o  o  1;  o  I'  8  p  c  r  i  m  c  u  s . 


The  Fayette  County 

vJ  OI3STT  STOCK 


Agricultural  and  Mechanical  Soc’y. 

coMPJ-nyrtWTftfrY. 

Connersville,  Ind.  from  Sept.  6th  to  10th,  1870. 


TRAIN  CALDWELL,  Pres!*n(. 

^CHAS  ROEHL,  Sec’)/.  EDW.  F.  CLAYPOOL,  iTregi.^/ 


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- 169 - 


Harpel’s  Wypograph; 


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0  JJoblesville,  Ind.  q 

@@©©©©©©©©©©©©©1*1 


®  CUSTOM  MADE, 


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Noblesville,  Ind. 


"V  O  Hi. 

2. 


VOL. 

4 


3 


VOL. 

5. 


170- 


or,  'Book  of  Specimens. 


°Upon  receipt  of  this,  please 
forward  your  returns  for  Mowwm  of  Ji-wr,  1870, 
and  much  oblige.  d(f  no  business  to  report;  let 
WE  KM-QW  warn  F&0T, 

E.  S.  T. 

New  York,  Ani/iist  12th,  1SS0. 


October,  i8jo. 

GENTS  will  very  much  oblige  by  forwarding  their  September 
X  JL  returns,  upon  the  new  form  of  Abstract,  promptly  on  the  30th 
inst.  Where  this  is  impossible,  we  trust  that  the  first  day  of  October 
will  not  be  allowed  to  pass  until  Uncle  Sam  has  the  documents  in  his 
possession.  Entering  from  the  new  form  upon  our  books  will  consume, 
for  a  while,  more  time  than  usual,  hence  our  request  for  prompt  returns,  so 
as  to  enable  us  to  transmit  Monthly  Schedule  to  the  Parent  office  on  time, 

JETS’ A. 


- 171 - 


3T  IR-  o  jyr 

WIKI.  R.  COX  «£  CO. 

Painters’  Depot, 

173  Race  Street,  CINCINNATI. 


m,  or 


,  |j  o  o  h  of  Jjp 


ttimcns. 


Roberts  Bingham , 

Growers  and  Shippers  of 

Kelly  Island  Grapes , 

Office,  22  Erie  Street, 

Wm.  L.  Norton.  SANDUSKY,  O. 


o 


173 


For 


HARPEt/8  TYPOCRAPH; 


4? 


mM 


tf|#a 


This  Cut  is  an  exact 
representation  of 
Style  PP. 


M®rae  ©©roplet© 

wittMmt  o,r©. 


T 


HE  above  Organ  (Style  PP)  is  made  expressly  for  Philip  Phillips’s  personal  use  and  track  by 
the  well-known  and  established  manufacturers, 

!!♦>  H*  h 


'•j^HERE  will  also  be  found  constantly  on  hand  all  other  styles  of  Smith’s  American  Organs  to 
sell  or  rent,  (with  a  very  Liberal  discount  to  Sabbath-Schools,  Churches,  and  Ministers,)  at 
prices  ranging  from  $100  to  $1,000. 

Call,  see,  and  hear  these  beautiful  singing-toned  Organs  before  purchasing  elsewhere. 

Below  are  described  five  of  the  most  useful  and  popular  styles. 


Style  M®.  D „ 

Price,  $100. 

Five  Octave,  single  reed,  in  solid  Black  Walnut  Case,  sunken  Molded 
Panels,  Knee  Swell,  Tremolo,  and  Metallic  Blow  Pedals. 

Style  Mo>.  M. 

Price,  $200. 

Five  Octave,  double  reed,  in  Black  Walnut  or  Oak  Case,  Molded  Paul¬ 
ings,  containing  Six  Stops . 

Style  No,  24. 

Price,  $225. 

Five  Octaves,  double  reed,  with  Sub-Bass,  in  fine  Black  Walnut  or  Oak 
Case,  Molded  Panelings,  containing  Seven  Stops. 

Style  N  o ,  34. 

Price,  $300. 

Five  Octave,  double  reed,  with  Sub-Bass  and  Coupler,  in  Black  Walnut  or 
Oak  Case,  finely  finished,  containing  Ten  Stops. 

Stylo-  No.  3(5, 

Price,  $375. 

Same  as  Style  No.  34,  with  an  addition  of  a  beautiful  ornamental  top, 
imitating  pipes,  etc.  Magnificent  Organ  for  the  Home. 

!  Call  on  or  address 

PHILIP  PHILLIPS,  37  Union  Square,  Broadway,  New  York. 


WESTERN  METHODIST  BOOK  CONCERN,  CINCINNATI. 


- 174 - 


OR, BOOK  OF  SPECIMEKS. 


Hlrs.  Mm.  £1.  Bothers. 


HSImtoooi)  dottagc. 


175 


J^arpel's  Jypograph; 


- 176 - 


or,  ^3  o  o  k  of  Specimens. 


|pC~~ 


By  PHILIP  PHILLIPS. 

^o-  r^r-or^- 


TTfe© 128  pages,  board 
covers.  50  cts.  each,  $35  per  hundred.  A 
beautiful  blending  of  the  Bible,  Bunyan,  and 
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board  covers.  60  cts.  each,  $40  per  hundred. 
Mr.  Phillips’s  latest  Book  for  Sunday-Schools, 
prepared  by  him  while  in  Europe,  containing 
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A  dvocate  for  Congregational  S inging.  Pub¬ 
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For  any  of  the  above  Books,  in  large  or  small  quantities,  address 

THE  PUBLISHERS, 

PHILIP  PHILLIPS,  37  Union  Square,  Broadway,  N.  Y. , 

HITCHCOCK  &  WALDEN,  Cincinnati,  Chicago,  or  St.  Louis, 

Or  either  of  the  following  well-known  Houses  : 

Carlton  dr3  Lanahan,  New  York ;  Sheldon  Co.,  New  York;  Sunday-School  Union, 
New  York;  J.  P.  Magee ,  Boston  ;  Oliver  Ditson  dr3  Co.,  Boston  ;  Randall  dr3  Aston, 
Columbus,  O.  ;  Raymond  dr3  Sons,  Detroit,  Mich. ;  IV in.  Ballantyne,  Washington, 
D  C.  ;  Merrill  dr3  Co.,  Indianapolis,  Iud  ;  E.  Grafton ,  Montreal,  Canada;  E. 
Thomas ,  Bookseller,  San  Francisco,  Cal.  ;  J.  B  L ippincott  dr3  Co.,  Philadelphia  ;  J. 
C.  Garrigues  Sr3  Co.,  Philadelphia;  S.  IV.  Thomas,  Philadelphia  ;  Perkenpine  dP 
Higgins,  Philadelphia  ;  H.  H  Otis,  Buffalo,  N.  Y.  ;  Ingham  dr3  Bragg,  Clevelana, 
Ohio;  Cushing  dr3  Baily,  Baltimore ,  Maryland;  Hitchcock  dr3  Walden,  Atlanta,  Ga.  ; 
Joseph  Horner,  Pittsburg,  Penn.  ;  Christian  Advocate  Office,  New  Orleans ,  La.  ; 
Sunday-School  Union ,  56  Old  Bailey,  London ,  England. 


S’ 


v$ 


(tv) 


- 177 


Ha  r  pel’s  Typograph 


I  i 


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- 178 - 


1 


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55  MPW  * 


ASSURANCE  ON  THE  LIFE  OF 


Amount,  $ 


Date 

Term 


Premium,  $ 

PAYMENTS  DUE, 


^jcncriil  ^ gent 


Office  , 


GlJfCMMf&TM*  O' 


Western  Methodist  Book  Concern  Print. 


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BY  MORT.  A.  READ 


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or*.  Book  of*  Specimens, 


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i£ 


SOrEO^TOnwCIC^rj  ([  Ai. LCTJLATIOITS,  1871 

For  the  Western  and  South-Western  States. 

The  Sun's  Rising  and  Setting  is  given  in  Mean  or  Clock  Time ,  corrected  for  refraction,  and  is  the  true 
Time  when  the  Sun's  upper  limb  is  at  the  horizon . 


ECLIPSES. 

In  the  year  1871  there  will  be  four  eclipses  :  two  of  the  Sun  and  two  of  the  Moon. 
I.  A  partial  Eclipse  of  the  Moon,  January  6th.  Moon  rises  eclipsed. 

II.  An  Annular  Eclipse  of  the  Sun,  June  17th.  Invisible. 

III.  A  partial  Eclipse  of  the  Moon,  July  2d.  Invisible. 

IV.  A  total  eclipse  of  the  Sun,  December  nth.  Invisible. 

THE  SIGNS  OF  THE  ZODIAC. 

ARIES ,  np  HEAD  AND  FACE. 


GEMhYI, 

THE  ARMS- 


LEO , 

THE  HEART. 


LIBRA , 

THE  HEINS. 


SA  GITTARIUS , 

THE  THIGHS. 


AQUA  RIUS, 

THE  LEGS. 


& 


A 


63 


UK 


111 


TA  UR  US, 

THE  NECK. 


CANCER. 

THE  BREAST. 


VIRGO. 

THE  BOWELS. 


SCORPIO. 

THE  SECRETS. 


CAPRICORNUS, 

THE  KNEES. 


PISCES ,  )-(  THE  FEET. 

NAMES  AND  CHARACTERS  OF  THE  PLANETS,  Etc. 


O  The  Sun. 

d  Mars. 

(3  Conjunction. 

f#  The  Earth. 

If  Jupiter. 

S  Opposition. 

§  Mercury. 

I?  Saturn. 

n  Ascending  Node. 

9  Venus. 

1|I  Herschel. 

n  Descending  Node. 

D  First  Quarter, 
(y)  Full  Moon. 
d  Last  Quarter. 
0  New  Moon. 


THE  FOUR  SEASONS. 


MOVABLE  AND  OTHER  FEASTS. 


Epiphany . Jan. 

Septuagesima  Sunday . Feb. 

Ash  Wednesdav . Feb. 


Good  Friday . Apr. 

Easter  Sunday . Apr. 

Ascension  Day . May 

EMBER  DAYS. 


Whit  Sunday .  May 

Advent  Sunday . Dec. 

Christmas . Dec. 


Wednesday,  Friday,  and  Saturday  after  1st  Sunday  in  Lent. 
Wednesday,  Friday,  and  Saturday  after  Pentecost.  May  31 
Wednesday.  Friday,  and  Saturday  after  14th  of  September. 
Wednesday,  Friday,  and  Saturday  after  14th  of  December. 


March  1,  3,  and  4 
;  June  2  and  3. 

September  20,  22,  and  23. 
December  20,  22,  and  23. 


CHRONOLOGICAL  CYCLES. 

Dominical  Letter .  A  I  Lunar  Cycle .  10  !  Roman  Indiction .  14 

Epact .  9  I  Solar  Cycle .  4  |  Julian  Period .  6584 

The  first  day  of  January,  1871,  is  the  2,404,429th  day  since  the  commencement  of  the  Julian  Period. 


Sun  enters  Aries  March  2od.  7I1.  42m.  evening.  Spring  commences. 

Sun  enters  Cancer  June  2id.  4I1.  4m  evening.  Summer  commences. 

Sun  enters  Libra  September  23d.  6h.  18m.  morning.  Autumn  commences. 

Sun  enters  Capricorn  December  22d.  oh.  21111.  morning.  Winter  commences. 

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tThe  first  day  of  fanuarv,  1871,  is  the  2,404,429th  dav  since  the  commencement  of  the  Julian  Period.  Crf 
-  @ 


- 181 - 


HARPEL’?  TYPOQRAPH; 


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glilWS 


C“cteaE5“a“v*^a~  CTSaJE^c 


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MANUFACTURER  OF 


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JjilW,  jjjairatie,  Jenny  |fflUnil  :|Jipn  jhole  fables, 

Mo.  218  MARKET  STREET, 

ST.  jUOUIS,  3YEO. 

PRINCIPAL  FACTORY:-  WAREROOMS: 

N.  E.  Cor.  Main  and  Eighth  Sts.  CINCINNATI.  165  Washington  Street,  CHICAGO. 

Phelan  &  Collender's  Latest  Improved  Patent  Combination  Cushions 
attached  to  all  our  Tables. 

SEND  FOR  ILLUSTRATED  CATALOGUE. 


182 


OR,  BOOK  OF  SPECIMEN?. 


t  I  H  >  I 


SATUKBAY  MATINEE,  2,  3P.  M 


MILK  OF  LILIES, 


A  SUPERIOR  LOTION 

For  Beautifying  the  Skin, 

REMOVING 

TAN,  FRECKLES, 

AVISTID  ALL  EEUPTIONS, 

Obviating  the  use  of  Powder. 

DIRECTIONS: 

Use  the  Lotion  after  each  Ablution. 

PREPARED  BY 

JULES  DEAUDIADE, 

Rue  de  la  Paix,  Paris. 


it 


- 183 - 


Haepel's  Typography 


1871* 


moon’s  phases. 

D. 

H.  M. 

MORN  OR 

EVE. 

moon’s  phases. 

d. 

H. 

M. 

MORN  OR 

EVE. 

6 

3  45 

1  19 

20 

6 

53 

36 

Last  Quarter . 

Morn. 

First  Quarter... 

28 

7 

Morn. 

Days. 

Cincinnati. 

Chicago. 

Nashville. 

£  s 
IliF- 

®  © 
ICI9BS  SETS. 

© 

SETB. 

© 

RISKS 

© 

SETS. 

© 

SETS. 

© 

RISKS 

© 

© 

SKTS. 

Signs  in  the  Zodiac,  etc. 


© 


Eqimtion 
of  Time. 


HI,  AN  ETAllY  CONSTKLI. ATION . 


First  Sunday  after  Christmas — Matt,  i,  18. 


If  M 

If  M 

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First  Sunday  after  Epiphany — Luke  ii,  41. 


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Second  Sunday  after  Epiphany — John  ii,  i. 


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Third  Sunday  after  Epiphany — Matt,  viii,  i. 


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CONJECTURES  OF  THE  WEATHER.— 1-3,  cold  and 
stormy,  with  much  snow  near  the  lakes  and  rain  in 
Tennessee  ;  4-7,  clears  off,  with  wind  from  south¬ 
west  ;  8-1 1,  clear  and  cold;  12-15,  weather  moderat- 
16-19,  cloudy,  with  easterly  winds;  20-23,  thaw- 
and  perhaps  rain  ;  24-27,  snow-storm,  with  high 
winds  from  the  west ;  28-31,  clears  off,  and  the  month 
ends  with  pleasant  Winter  weather. 


MORNING  AND  EVENING  STARS.— Venus  is  the 
evening  star,  setting  at  the  beginning  ot  the  month 
half  an  hour  after  the  Sun,  and  moving  away  from  the  £ 
Sun  at  a  rate  of  little  over  one  minute  per  day.  Mars  ^ 
rises  about  sunset.  Jupiter  passes  the  meridian  at  10  ^ 
o’clock,  evening,  and  being  at  its  greatest  northern  €) 
declination,  is  a  brilliant  object  in  the  evening.  Sat-^ 


urn  is  not  visible  this  month. 


184 - 


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5  r^/VKLlN  BU\L0'^G 


I 


DESIGNEO  ANO  COM  POSED  BY  GEO.  BARNARD,  CINCINNATI. 


- 185 


H  u  r  p  e  I  ’  s  W  y  p  o  g  r  a  p  h ; 


W  O  IR.  1C  S 


O  :F  IF  I  C  E  : 


Cor.  First  and  Ferry 
Streets, 


No,  267  Penn  Street, 
near  9th, 


i:  A  LSO, 

Agent  for 

T.  H.SENIOR 

i 

|  IN  THE  SALE  OF 

|  Campbell's  Printing  Machinery, 


O  B 

PRESSES, 

•PAPER  AND  CARD  CUTTE.RS, 

Type  and  Printers'  Supplies, 


186 - 


CASES  OF  If  Ilf  DE8GB1PTIOI 


For  all  grades  of  American  Movements,  all  Styles  and  Patterns, 
Quality  varying  from  io  to  18  karat. 


PRICES  FOR  MAKING  GOLD  CASES: 

American,  weighing  60  dwt.  or  less,  Plain  Engine  Turned,  .  $13  Oft 

Imported,  “  60  “  “  “  “  “  16  00 

Extra  for  each  additional  ounce,  .  .  .  .  .  .  2  00 

EXTRA  CHARGE  FOR  ENGRAVING  AND  ENAMELING. 

The  Standard  Rates  in  Gold  will  be  charged : 


10  karat  Gold,  per  dwt  ........  48  cts. 

12  “  “  “ . 56  “ 

14  “  “  “ . 64  “ 

16  “  “  “ . 72  “ 

18  “  “  “ . 80  “ 


All  kinds  of  Imported  Movements  Cased  in  Gold  or  Silver,  in  any  manner 
and  style  desired  : 

Special  attention  given  to  Case  Repairing. 


F1.A lilt  GOLD  RINGS. 


Prices  in  Gold,  in  quantities,  as  follows  : 


14  karat,  per  dwt. 
16  “ 

18  “ 


Less  than  100  dwt. 

100  dwt.  or  over. 

300  dwt.  or  over. 

.  85  cts. 

80  cts. 

75  cts. 

92  “ 

GO 

82  “ 

.  $1  00 

95  “ 

90  “ 

Terms— NET  CASH,  and  no  deviation. 

Premium  on  Gold  will  be  charged  same  as  “Gold  Closes”  on  the  day  the 
order  is  received 


187 - 


ffa/rjpeV s  Q^yjpogTOupK, 


or,  J^ooh  of  Specimens. 


CONTRIBUTED  B V  CHICAGO  REPUBLICAN  JOB  PRINTING  CO. 


m 


>'L1 


- 189  — - 


HA  It  PEL'S  TYPOGPAPH; 


PRICE  LIST 


Manufactured  by 


JOHN  C.  DTJEBER, 


fto.  51  Mcst  if  mull)  Street, 


Office,  No.  I,  Up  Stairs, 


CINCINNATI. 


Mark. 


- 190 - 


OS,  TiOOK  Or  SPECIMENS. 


- -191 


V  YE  o  (}  E P  It 


DESIGNED  AND  COMPOSED  BY  GEO.  BARNARD,  CINCINNATI. 


- 192 


26 


CELEBRATED  WOMEN. 


rying.  He  is  a  clever  young  man,  and  I  see  no  objection. 
He  is  very  unlike  his  fanatic  uncle.” 

He  might  have  talked  an  hour  without  receiving  a  reply. 
Catherine’s  manner  had  changed;  there  was  no  longer  the 
emotion  or  the  blush.  “What  shall  I  tell  him?”  “Any  thing 
you  please,”  said  she,  “so  that  I  never  see  him  again.” 
“Why,  this  is  strange,”  said  Luther;  “you  did  not  seem  to 
have  scruples  of  conscience  just  now.  My  dear  Catherine, 
you  must  not  forget  that  you  have  no  natural  relations  here, 
and  this  young  man  can  be  a  protector  to  you.”  “  I  wish 
you  would  not  speak  of  him,”  replied  she.  “  Is  there  any 
one  else  that  you  like  better  ?”  said  Luther.  She  made  no 
reply.  “Nay,  speak;  I  have  every  disposition  to  serve  you. 
Has  any  other  person  made  the  same  proposition  to  you?” 
“Yes,”  said  Catherine,  with  a  little  womanly  pride;  “Coun¬ 
selor  Baumgartner  has  made  the  same  proposal.”  “  Do  you 
prefer  him  ?”  “  Yes,”  she  replied,  rising ;  “  but  I  am  as 

happy  as  I  ever  expect  to  be.  My  friends,  assure  me  that 
I  am  no  burden,  but  a  help  to  them;  so  I  wish  you  good 
morning.” 

Poor  Catherine  hastened  to  her  room.  Her  dream  was 
over.  Luther,  the  austere,  the  insensible  reformer,  had  awak¬ 
ened  her  from  it.  Margaret  entered  while  her  eyes  were  yet 
red  with  weeping.  She  tenderly  approached,  and  embraced 
her;  but  neither  exchanged  a  word.  “There  is  no  hope  for 
Bodenstein,”  thought  Luther;  “it  is  evident  Baumgartner  is 
the  object.  Catherine  is  a  child.  If  the  Elector  dies  she  is 
without  a  support,  except  by  the  labor  of  her  hands,  and 
they  do  not  look  as  if  they  were  made  for  labor.  I  will 
write  to  Jerome  Baumgartner.  He  is  well  known  as  a  young 
counselor  at  Nuremberg.”  The  young  counselor  received  this 
letter  with  surprise  and  incredulity.  The  positive  refusal  of 
Catherine,  some  months  before,  had  left  no  doubt  on  his 
mind,  and  he  thought  the  wisest  plan  was  to  inclose  the 
letter  to  her,  and  to  inquire  whether  it  was  written  with  her 
sanction.  In  the  mean  time  Luther’s  friends  began  to  urge 


(Y) 


193 


Harpel’s  Typogra  ph  ; 


Are  You 

Still  doubtful  about  the  value — not  to  say  necessity — of  Accidental  Insurance?  Look  about  you, 
and  see  the  benefits  that  have  accrued  to  those  who  were 

Insured  Against 

Accidents,  and  who,  when  disabled,  were  so  fortunate  in  having  a  Policy  that  covered  all 

Accidents  ? 

issued  by  the  Accident  Insurance  Company,  of  Tipton,  Minn.  Make  inquiries  of  the  fortunate 
possessor,  and  you  will  find  that  by  prompt  payment  and  honorable  dealing,  the  Company  has 
made  a  good  name  in  the  land. 

If  Not, 

Yet  satisfied,  take  a  policy -yourself,  and  experience  the  sense  of  relief  and  safety  which  always 
attends  the  possessor  of  an  Accident  Policy  in  this  excellent  Company.  At  home  or  abroad, 
traveling  or  stationary,  you  feel  safe,  and  ready  to  exclaim 

Why  Not  ? 

have  attended  to  this  before  ?  Sure  enough.  It  was  not  the  fault  of  the  Company  that  you  were 
not.  It  is  not  now  too  late.  Call  on  the  Agent  at  once,  and  procure  a  policy. 


TABLES  SHOWING  THE  COST  OF  INSURANCE. 

FIRST  CLASS. 

For  Merchants,  Professional  Men,  Bankers,  and  all 
others  who  follow  an  occupation  not  in  itself  Haz¬ 
ardous  to  Life  or  Limb. 

PEE  YEAR. 

$1,000  if  killed,  $5.00  per  week  if  disabled,  costs  $  5.00 
3,000  “  15.00  “  “  “  15.00 

5,000  “  25.00  “  “  “  25.00 

IN  SAME  RATIO  TO  $10,000. 

ROGER  WALKER,  Agent, 

S.  E.  Comer  Third  and  Wall  Streets, 

ST.  PAUL,  MINN. 


SECUJNU  CLASS. 

For  Railroad  Conductors,  Persons  Liable  to  Extra 
Travel,  Traveling  Agents,  Mail  Agents,  Mechanics, 
Laborers,  Farmers,  Millers,  and  all  others  of  this 
Class. 

PEE  YEAE. 

$1,000  if  killed,  $5.00  per  week  if  disabled,  costs  $  7.50 
3,000  “  15.00  “  “  “  22.50 

5,00(1  “  25.00  “  “  “  37.50 

IN  SAME  RATIO  TO  $10,000. 


Yds. 


or.  Book  of  Specimens. 


Harp  el’s  Typo  graph  ; 


WESTERN  METHODIST  BOOK  CONCERN,  CINCINNATI -  R.  P.  THOMPSON,  SUP’T. 


196 - 


or,  (Book  of  Specimens. 


Capital,  $1,000,000. 

J.  B.  BENNETT,  Prest.  J.  H.  BEATTIE,  Secy. 

J.  J.  BERNE,  Sup’t  of  Agencies. 


INSURANCE 


A  to  A ,  16  feet. 

A  to  B,  22  inches. 


E  A 

C  to  C,  6  feet,  8  inches. 

D  to  E,  2  feet,  lO  inches. 


4  feet. 


Insurance  (jO» 


♦  ♦  1  ♦ 


$1,000,000. 


- 197- - 


Harpers  Typography 


d 


uly 


> 


(To  tbc  Bcprcsentatibcs  of  tbe 

POTOMAC 

in  Sflntjj  Caro  lina : 

Manifest  your  appreciation  of  the  many 
sterling  and  popular  qualities  of  the  “ old  reliable"  POTOMAC,  by 
dedicating  yourselves  anew  to  its  service.  From  a  small  Com¬ 
pany  a  few  years  ago ,  it  has  risen  to  its  present  powerful  position , 
and  to  your  zealous  efforts,  mainly ,  the  praise  is  ascribed.  Let 
not  these  efforts  cease,  but  Work,  Work,  Work,  and  resolve  on 
adding  fresh  laurels  to  the  fair  name  and  fame  of  the  POTOMAC. 

M.  E.  H. 


198 


or,  Book  of  Specimens. 


Pickard  a^ood, 

Silk  and  Cassimere 


189  Walnut  St, —  Corner  Fifth, 


rDiaviiteasrSiOztsrs  of  block: 


Crown— 6%  deep.  Bell— 1-16  sides;  %  front  and  real'. 

Tip—1 7%  by  7%.  Brim— 2%  front  and  rear,  %  off  at  sides. 

Band  and  Binding,  10  line. 


We  take  pleasure  in  calling  your  attention  to  the  Trade 
Fall  Style  of  Silk  Hat ,  and  would  state  that  our  facil= 
ities  for  manufacturing  are  such  as  will  enable  us  to 
produce  first=class  goods  at  reasonable  prices.  We  are 
making  several  grades ,  ranging  in  prices  as  follows,  viz : 

$48,  $51,  $54,  $57,  $60,  $66,  $72,  and  $84,  per  doz. 

NET  CASH. 

-An  early  order  from  you  is  respectfully  requested, 
and  a  single  Hat  will  be  sent  as  sample,  when  desired. 

Very  Truly  Yours, 

Huff  us  t  25l/i,  7870. 


199 


P.S  w. 


if  THE 


W  Adkll 


ONE  OF 

THE  OLDEST  FAMILY  JOURNALS  IN  THE  WEST, 

Is  about  commencing  its  Twenty-Eighth  Volume. 


IT  IS  CONCEDED  TO  BE  ONE  OF  THE 

MAHMOSISSM  Os  »ilT:  IlWiMllli 

IN  T’  H  !•;  UNI  O  IV. 

j  It  is  devoted  to  the  Home  Girole,  the  Counting  I^oom,  and  the  Work  Shop. 


It  is  “  Independent  in  all  things,  Jleutral  in  nothing 


i» 

S’ 

s» 

S’ 
S’ 
i» 

► 

If 

S’ 

s> 

s» 

S’ 
S’ 

s> 
s> 

S’ 
S’ 
S’ 
S’ 
%> 

A  large  octavo  volume  of  112  pages;  its  columns  being  full  of  valuable  statistics,  tables,  and  fresh 
and  instructive  reading  matter  on  different  subjects,  of  interest  to  the  Farmer,  the  Merchant,  and  %> 
the  Mechanic.  Especial  attention  has  also  been  paid  to  the  Household  and  Health  Departments, 
which  will  be  of  great  interest  to  the  Women  Folks;  and  even  the  Young  Folks  will  find  several 
columns  devoted  to  them,  that  will  afford  both  pleasure  and  profit.  The  most  interesting  feature  of 
the  Hand-Book  will  be  its  illustrations,  of  which  there  will  be  at  least  FIFTY ;  many  of  these  have 
been  engraved  specially  for  it,  in  the  most  artistic  style,  illustrating  the 


It  |»ul»liKlics  onl.v  wlial  is  lJeliahk*,  stand!  speaks  only  ivliat  Is  Truthful,  making 
it  tlie  Jour  mil  whieli  tlie  Parent  may,  without  fear, 
place  before  his  Fnanily. 

- - 

We  would  also  call  attention  to  the  new  feature,  which  has  given  such  universal  satisfaction  to 
our  patrons  for  several  years  past,  viz : 

AN  ANNUAL  PRESENT 

TO  EVERY  SUBSCRIBER  OF 

J1  HE  ^LLUgTR/VTED  ^InION  ]4 AJM D  ~  £>00 K, 


River,  Lake  and  Mountain  Scenery  of  the  W est ; 

Domestic  Subjects,  illustrative  of  Home  Life, 

The  Wonders  of  the  Yosemite  Valley, 

Giving  engravings  of  some  of  the  most  romantic  and  beautiful  scenery  in  the  world.  Also,  several 
pictures  showing  the  greatest  curiosities  of  Tree  and  Forest  growth : 

The  Big  Tree  of  Penang  ; 

The  Cedars  of  Lebanon; 

The  Great  Chestnut  Tree  of  Mount  .Etna; 

The  Dragon  Blood  Tree,  &c.,  &c. 


Take  it  all  in  all,  we  venture  the  assertion  that  our  seventy  thousand  subscribers  will  unani¬ 
mously  pronounce  it  to  be  worth  at  least  half  the  subscription  price  of  the  paper. 

To  those  persons  who  have  never-seen  the  Weekly  Times,  we  will  take  pleasure  in  sending  a 
specimen  copy  on  application. 

«W  Address, 

0.  W.  STARBUCK  &  CO. 

No.  62‘h  West  Third  Street, 


<5 
4 
oi 

4 

I 

% 


T  E  K  Itt  S  : 

Single  Subscribers,  -  $2.00  per  year. 
Clubs  of  Ten,  -  -  1.50  “  “ 


arid  one  to  the  Club  Agent. 


CINCINNATI,  O. 


'  a 


SI 


NlSHEO  BY 


JOB  OFFICE.  CINCINNATI 


-  O.  F.  CARNAH 


200- 


or,  |ook  oi  Specimens, 


SELECTIONS.  229 

XXXI.— FORTY  YEARS  AGO. 


I ’ve  wandered  to  the  village,  Tom, 
I ’ve  sat  beneath  the  tree, 


Upon  the  school-house  play-ground, 
That  sheltered  you  and  me ; 

But  none  were  left  to  greet  me,  Tom 
And  few  were  left  to  know, 

Who  played  with  us  upon  the  green 
Just  forty  years  ago. 

The  grass  was  just  as  green,  Tom, 
Barefooted  boys  at  play 
Were  sporting,  just  as  we  did  then, 
With  spirits  just  as  gay. 

But  the  master  sleeps  upon  the  hill 
Which,  coated  o’er  with  snow, 
Afforded  us  a  sliding-place, 

Some  forty  years  ago. 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


(z) 


- 201 - 


HARPER'S  TYPOCRAPH; 


COMPLETE  ARITHMETIC. 


CUSTOMS  OR  DUTIES. 


267.  Customs  are  taxes  levied  by  the  national  govern¬ 


ment  on  imported  goods 
and  the  tonnage  of  ves¬ 
sels.  Customs  are  also 
called  Duties. 

Ports  of  Entry  for  foreign 
goods  are  established  by  law, 
and  at  each  port  of  entry  there 
is  a  Custom  House,  where  cus¬ 
toms  or  duties  are  collected. 
The  officer  in  charge  of  the 
custom  house  is  called  the  Col¬ 
lector  of  Cusloins,  and  a  list  of 
the  rates  of  duties  to  be  col¬ 
lected,  is  called  a  Tariff. 

Duties  are  Specific  or  Ad 
Valorem. 


268.  Specific  Duties  are  customs  assessed  on  the 
quantity  of  goods  imported,  without  reference  to  their 
value. 


In  assessing  specific  duties  an  allowance  is  made  (1)  for  waste,  called 
Draft ;  (2)  for  the  weight  of  box,  cask,  etc.,  called  Tare  or  Tret;  (3)  for 
waste  of  liquids,  called  Leakage;  and  (4)  for  the  breaking  of  bottles, 
called  Breakage.  The  weight  of  goods  before  allowances  are  made  is 
called  Gross  Weight,  and  the  weight  after  all  allowances  are  made  is 
called  Net  Weight. 

269.  A.d  Valorem  Duties  are  customs  assessed  on 
the  cost  of  goods  in  the  country  from  which  they  are  im¬ 
ported. 

The  cost  of  imported  goods  is  shown  by  an  Invoice  or  Manifest, 
and  when  the  currency  of  the  country  from  which  goods  are  im¬ 
ported  has  a  depreciated  value,  the  amount  of  depreciation  is  stated 
in  a  consular  certificate,  attached  to  the  invoice.  When  the  owner 
or  consignee  can  not  exhibit  an  invoice  of  goods  at  the  custom  house, 
their  value  is  determined  by  appraisement. 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


OR, BOOK  OF  SPECIMENS 


COMPLETE  ARITHMETIC. 


METKIC  TABLES. 


182. — I.  Measures  of  Length. 


The  Unit  is  a  Meter  —  39.37  inches,  nearly. 


Denominations. 

Myriameter 

Kilometer 

Hectometer 

Decameter 

Meter 

Decimeter 

Centimeter 

Millimeter  : 


Values. 

10000  meters  - 
1000  meters 
100  meters 
10  meters 
1  meter  : 
.1  meter  : 
.01  meter 
.001  meter 


Equivalents. 

6.2137  mi. 
0.6214  mi. 
328tV  ft. 
393.7  in. 
39.37  in. 

:  3.937  in. 
0.3937  in. 
0.0394  in. 


Decimal  Scale. 


S-. 

<L> 

"cu 

a 

C3 

s 

QJ 

0> 

o 

S 

a> 

a 

Sh 

<y 

a 

u 

a> 

a 

s 

a> 

a 

o 

O 

c3 

o 

S 

*o 

■-g 

a 

2 

a 

O) 

Q 

a 

ft 

Ol 

U 

§ 

0 

0 

0 

0 

0 

.  0 

0 

0 

Ten  units  of  any  denomination  of  the  above 
table  equal  one  unit  of  the  next  higher  de¬ 
nomination,  and,  hence,  the  successive  de¬ 
nominations  correspond  to  successive  orders 
of  figures  in  the  decimal  system :  the  meter 
denoting  units;  the  decameter,  tens,  etc. 

The  correspondence  between  the  metric 
denominations  and  those  of  United  States 
Money  is  also  noticeable.  The  millimeter 
corresponds  to  mills;  the  centimeter  to  cents; 
the  decimeter  to  dimes;  the  meter  to  dollars,  etc. 


The  above  diagram  shows  that  a  decimeter  is  a  little  less  than  four 
inches,  and  that  a  centimeter  is  a  little  more  than  f  of  an  inch. 

Note. — As  no  abbreviations  for  the  names  of  the  metric  units 
have  been  agreed  upon  in  this  country,  the  names  are  given  in  full 
in  this  work.  The  tables  of  equivalents  need  not  be  memorized  by 
the  pupil. 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


- 203 - 


jFiappel's  TypograiD^- 


A 


COMPLETE 


ALGEBRA 


FOR 


SCHOOLS  AND  COLLEGES, 


BY 


A.  SCHUYLER,  M.  A., 

Professor  of  Mathematics  and  Logic  in  Baldwin  University ;  Author  of 
Higher  Arithmetic  and  Principles  of  Logic . 


CINCINNATI: 

WILSON,  HINKLE  &  CO. 

NEW  YORK;  CLARK  &  MAYNARD. 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


- 204 - 


op,  J3o©X  of  Sijp e eii^e^s . 


6-1 


ALGEBRA. 


1.  Reduce 


91.  Examples. 

•  b2  _  («  -|-  b )  (a 


a2  -f-  2ab  -)-  b 2 


6)  _ a  —  b 


2.  Reduce  - 


b 2 


(u  — 6}  (n  — j-  6)  u  — |—  b 
a  — p  b 


3.  Reduce 


a2  —  2 ab  -)-  b 2 

—  2 ab  -|-  b2 

a3  —  6  3 

(  „  ,  a;2  -f  2xy  +?/2 

4.  Reduce - ; — ,  y  —  ■ 

."C0  i/3 

x 2  -)-  13a:  +  42 
a;2  -f-  14a;  -f  48 


*4ns. 


5.  Reduce 

6.  Reduce 

7.  Reduce 

8.  Reduce 

9.  Reduce 
10.  Reduce 


r 


a;6  — 


Ans. 


Ans. 


Ans. 


a  - 
a  —  b 


a2  -(-  ab  -f-  b2 


s  +  y 


a;2  —  a;y  +  y2 
x  +  7 


pins. 


a;  +  8 


*2  +  y2 


a:3  —  3a;2y-|~  3ay2 — y 3 

a:3  —  x2y  —  xy 2  -)-  y3 
a:2  -)-  (a  -j-  b)  x  -|-  ab 

x2  -f-  (ft  +  c)  a;  -f-  be 
(a  A  b)  2  -f-  (a  —  6)  2 

a4  —  64 


pins, 
pins. 
.4ns. 


x2y2  +  y4 

«  —  y 


x  +  y 

x  -f-  a 
a:  -f-  c 
2 


a2  —  b2 


a:4  —  pa;3  -)-  (y —  1)  x2  -f-  px- —  q 

a;4  —  ya;3  +  ( p —  1)  x2  -j-  qx  —  p 


pins. 


a;2  —  px  -f-  q 
x2 —  qx  -f- p 


92.  Case  II. 

To  reduce  entire  or  mixed  quantities  to  fractions. 

by  multiplying  both  terms  by  d. 


i  a 

1.  a  =  - 

1 


ad 

d 


c  ,  n  ad  i  n  ad  A-  n 

-•  a+d=!l  +  i=i- 


3.  a 


ad  b  — c  ad  —  b  -j-  c 


d 


d 


d 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


206 - 


|arPeI’$  |pograpl|; 


SELECTIONS. 


CHAPTER  II. 


SELECTIONS  FOR  READING. 


Exercise  I. 


it.  an  ox  ? 
is  an  ox. 
it  my  ox  ? 
is  my  ox. 
do  go  on. 


Do  we  go  ? 

Do  we  go  up  ? 
We  do  go  up. 
Ah !  so  we  do. 


I.  R.— 3 


Am  I  in  ? 

Am  I  in  it  ? 

I  am  in  it. 
Oh !  so  I  am. 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


- 206 - 


or,  j|ook  of  Hperimen^. 


COMPLETE  ARITHMETIC. 


2.  MEASURES  OF  SURFACES  OR  AREAS. 


Square  Measure. 


Surveyor’s  Measure. 


The  denominations  are 
square  inches,  square  feet, 
square  yards,  square  rods  (or 
perches ),  roods,  acres,  and 
square  miles. 

Table. 

144  sq.  in.  =  1  sq.  ft. 

9  sq.  ft.  =  1  sq.  yd. 

30|  sq.  yd.  =  1  P. 

40  P.  =1  R. 

4  R.  =14. 

640  A.  =  1  sq.  mi. 


Table. 

7.92  m.  =  1  link  (l.). 

25  l.  =1  rod. 

4  rd.  =  1  chain  ( ch.) 
80  ch.  =  1  mi/e. 

Also : 

625  sg.  i.  =  1  P. 

16  P.  =1  sq.  ch. 

10  sq.  ch.  =  1  A. 

640  A.  =  1  sq.  mi. 

1  sq.  mi.  =  1  section. 
36  sect.  =  1  township. 


3.  MEASURES  OF  SOLID  CONTENTS  OR  CAPACITY. 


Cubic  Measure. 


Dry  Measure. 


The  denominations  are 
cubic  inches,  cubic  feet,  and 
cubic  yards. 

„  Table. 

1728  cu.  in.  =  1  cm.  ft. 

27  cm.  ft.  =  1  cm.  yd. 


The  denominations  are 
pints,  quarts,  pecks,  and 
bushels. 

Table. 

2  pt.  =1  qt. 

8  qt.  =1  j ok. 

4  pk.  -  -  1  6m. 


Wood  Measure. 


Table. 


16  cu.  ft. 

8  cd.  ft.,  or  1 
128  cm.  ft.  ) 


—  1  cord  ft. 
-  1  cord. 


24f  cm.  ft.  =  1  perch  of  stone. 

40  cm.  ft.  round  timber  —  1  ton. 
50  cm.  ft.  heron  timber  =  1  ton. 


Liquid  Measure. 

Table. 

4  gills  —  1  pt. 

2  pt.  =1  qt. 

4  qt.  =1  gal. 
31J  gat.  =  1  bbl. 

63  gal.  =  1  hhd. 

42  gal.  =  1  tierce. 


Note. — The  standard  bushel  contains  2150|  cu.  in.;  the  liquid 
gallon,  231  cu.  in. ;  and  the  beer  gallon  (little  used),  282  cu.  in. 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


- 207 - 


Harpel’s  Typograph; 


SHAPE  OF  THE  EARTH.  73 


145. 


Recapitulation. 


The  altitude  of  the  celestial  pole  is  found  from  the  culminations  of 
circumpolar  stars. 

Correction  is  required  for  atmospheric  refraction;  it  increases 
the  apparent  altitude  of  a  celestial  object,  especially  when  near  the 
horizon. 

Terrestrial  latitude  is  found  : 

1.  By  culminations  of  circumpolar  stars ; 

2.  By  meridian  altitude  of  the  sun  ±  declination. 


Dap  —  night 
At  the  equator ,  where 
At  the  poles ,  where 
Elsewhere ,  when 

Dap  j>  night 
Elsewhere ,  when 

Day  night 
Elsewhere,  when 


the  sun's 
daily 
path  is 


perpendicular  to  the  horizon. 
parallel  to  the  horizon, 
on  the  equinoctial. 

in  the  observer  s  hemisphere. 

in  the  opposite  hemisphere. 


Twilight  is  caused  by  reflection  of  light  from  upper  region  of  at¬ 
mosphere;  it  lasts  until  the  sun  is  18°  below  the  horizon. 


CHAPTER  VIII. 

SHAPE  OF  THE  EARTH.  GRAVITATION. 

146.  Public  surveys. — The  construction  of  accurate 
maps  is  a  matter  of  national  importance.  When  a 
boundary  line  between  two  states  or  nations  is  not  fixed 
by  some  natural  landmark,  as  the  channel  of  a  stream 
or  the  crest  of  a  mountain,  it  is  often  made  at  lines  of 
latitude  and  longitude ;  these  must  be  determined  astro¬ 
nomically.  The  bounds  of  many  of  the  states  and  terri¬ 
tories,  as  well  as  those  between  the  United  States  and 
the  British  Provinces  and  Mexico,  are  fixed  at  astronom¬ 
ical  lines. 

Ast.  7 


From  Wilson,  Hinkle  &  Co.,  Cincinnati,  Publishers  of  the  Eclectic  Educational  Series. 


-  208  - 


or,  Book  of  Specimens. 


Little  Eyes  and  Little  ■  Hands.  461 


LITTLE  EYES  AND  LITTLE  HANDS. 


Little  eyes, 

Like  the  shining  blue  above, 
Full  of  light  and  love, 

Full  of  glee  ; 

Telling  of  a  life  within, 

In  a  world  of  sin, 

Born  to  you  and  me  ! 

Will  they  see  the  golden  way 
Leading  up  to  day  ? 

And  the  God  to  whom  we  pray, 
In  the  skies  ? 

Little  hands, 

In  the  long  and  weary  strife 
Of  a  toiling  life, 

Will  they  win  ? 

Will  they  early  learn  to  bless  ? 
Rescue  from  distress  ? 

Will  they  fear  to  sin  ? 


For  the  true,  the  good,  the  right. 
Will  they  bravely  fight  ? 

Strew  along  the  paths  of  night 
Golden  sands  ? 

Little  feet, 

Entered  on  a  thorny  way  ; 

Will  it  lead  to  day 

And  renown  ? 

As  its  rugged  steeps  are  trod, 
Will  they  climb  to  God 
And  a  seraph’s  crown  ? 
Where  the  loving  Savior  goes, 
Finding  friends  or  foes, 

Will  they  follow  till  life’s  close, 
As  is  meet  ? 

Little  eyes, 

May  they  wear  an  angel’s  guise 
In  the  upper  skies  ! 


(A  a) 


From  Printing  Office  of  Methodist  Book  Concern — R.  P.  Thompson,  Sup’t. 

- 209 - 


HARPEL’S  TTPDGRAPH; 


School  to  Learn  English. 

AT  ADVENT  CHURCH, 

On  Howard  Street, 

Between  Second  and  Third  Streets,  near  Second  Street, 

On  Sunday,  at  1  o’clock,  p.  m.,  and 
on  Thursday,  at  p.  m. 

The  English  Language  will  be 
taught 

WITHOUT  CHARGE. 

ALL  CHINAMEN 

ARE  INVITED  TO  COME  AND  LEARN. 


*  §r  %3k 

f*- 

i.  !sl 


#  w 


We  insert  the  above  both  as  a  typographical  curiosity,  and  to  exhibit  the  expansive  scope  of  the 
great  art  that  has  at  length  so  systematized  a  language  embracing  many  thousands  of  compound 
symbols  or  characters,  which,  whether  they  represent  mere  sounds,  or  complete  words  and  phrases, 
or  both,  have  required  the  most  untiring  study,  laborious  care,  and  nice  analyzation,  to  make  them 
subservient  to  a  far  wider  utility  than  they  ever  before  possessed,  by  being  cast  upon  separate  type 
bodies.  This  at  first  glance  would  seem  to  involve  difficulties  so  numerous  as  to  make  complete  suc¬ 
cess  at  least  doubtful.  Hitherto  the  method  of  printing  pursued  by  the  Chinese  has  been  by  means 
of  engraved  blocks,  charged  with  an  ink-like  preparation,  and  impressed  upon  the  paper,  silk,  etc. 
by  slow  and  tedious  hand  processes.  But  a  revolution  has  been  effected  whereby  the  language  of 
the  Mongolian  race  may  be  circulated  to  almost  any  extent ;  for  to-day  the  “  Celestial”  people  may 
have  their  written  thoughts  multiplied  by  means  of  movable  types  set  up  to  suit  the  occasion,  and 
the  mighty  mechanism  of  the  latest  modern  “  fast”  steam  printing-presses.  The  ordinary  pair  of 
cases  and  stand  used  by  American  and  European  printers,  will  not  suffice,  however,  for  the  needs 
of  the  compositor  of  Chinese  type.  He  must  have  a  sort  of  ampithealre  built  about  him,  con¬ 
taining  several  thousands  of  compartments,  for  the  same  number  of  these  to  us  strange  hiero¬ 
glyphics,  with  which  he  must  of  necessity  become  familiar. 

Says  our  good  friend  and  an  excellent  printer— Mr.  ffi.  M.  Cubeby,  of  San  Francisco ,  Cal.— who 
kindly  sent  us,  by  letter ,  the  electrotype  shell  from  which  the  Chinese  presented  above  is  printed 

“The  above  is  a  facsimile  of  the  cards  issued  by  the  Church  of  the  Advent,  San  Francisco,  and  printed  on 
bright  red  paper  by  Cubery  &  Co.,  inviting  the  Chinese  here  to  attend  its  School  for  them.  Most  of  the  Protestant 
Churches  of  the  city  have  similar  Schools.  Each  pupil  requires  a  teacher ;  and  it  is  an  interesting  sight  to  see 
well-dressed  white  ladies  or  children  sitting  beside  these  dark  sons  of  the  East  and  teaching  them  the  English 
alphabet.  But  the  faithful  are  amply  rewarded  for  their  labors  when  they  hear  these  heathen  people  repeating 
the  Lord’s  Prayer,  Ten  Commandments,  or  passages  from  the  Scriptures.  They  also  learn  to  sing  psalms  and 
hymns. 

“  In  reading  the  Chinese  characters  commence  at  the  right  side  and  read  downward.” 


- 210 - 


Q  R,  BOOK  OF  SPECIMENS. 


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Theodore  Royer,  President.  S.  E.  Hibbard,  Secretary.  A.  Haven,  Superintendent. 


HaRPEL'S  Typograph; 


IVe,  the  undersigned,  agree  to  pay  the  amounts  set  opposite 
our  names,  to  the  Trustees  of  the  METHODIST  EPISCOPAL 
CHURCH  OF  CUMMIIISVILLE,  for  the  erection  of  a  house  of 
worship  for  said  Church. 


Vest  ate  m  atieaid  te  e/m tdeen  j/t. 

eAecd  cAcAAm  aneA 


.  mem 


/AdJ 


em/u. 


Teade 


temet  netA/m  tAtit?/  eAayd,  ei  yeee  ye/M  deadend 
yet  net  cAeena  deJ  de  AA  can  te/tett  te  eAtwdten. 
rfeAneA  (AA/Aeae  t/e  atdJ 


Financial  Scribe. 


LAWS. 

CHAPTER  V.-Page  9. 

Section  2.  When  a  member  is  six  months  in  arrears  for  dues,  and  the  FINANCIAL  SCRIBE  shall  have  duly 
notified  the  delinquent,  and  he  fails  to  pay  his  dues  for  one  month  thereafter,  the  Division  may,  without  charge  or 
trial,  suspend  or  expel  him. 

All  dues  payable  quarterly  in  ADVANCE,  on  the  first  of  January,  April,  July  and  October. 


212 - 


or,  Book  op  Specimens. 


362 


Golden  Hours. 


YjM  N  AND  y^EAR. 


W.  '1\  Porter. 


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2.  Toil  and  labor — never  stopping 

Till  you  make  the  prize  your  own, 

For  you  know,  ’t  is  “  constant  dropping 
Wears  away  the  hardest  stone.” 

Never  slack  sublime  endeavor, 

Nor  ’mid  cheerless  toil  despair; 

If  vou ’d  rise  above  your  fellows, 

Brother  I  you  must  “  Win  and  Wear.” 


3.  ’T  is  the  lesson  Nature  teaches 

All  throughout  her  wide  domain  ; 

And  the  text  from  which  she  preaches 
Is  “that  labor  leads  to  gain.” 

Moral  worth  and  honest  merit - 

Brighter  crowns  than  monarchs  bear — 
These  you  never  can  inherit : 

Brother  !  these  you  “Win  and  Wear.” 


- 213 


ZOINE 


IX  arpel’s  Typograph 


214 


or,  Boolt  of  Specimens. 


■  QUI  MERUIT  FEU-A-T.” 


**».©•©  ]p®*l 


ill 


1  -13  M'4 


THURSDAY,  JUNE  23d,  1870. 

m:oore’s  amt,  raw&M. 


@KB1E  Qi  W  E  X  E  B  C  I  S  E  S  s 

Nine  o'clock,  A.  M. 

l|tf  ft  ll  filftSflU 

draper. 

- - MUSIC.- - 


“  Individually,”  ....  Henrietta  L.  Baldwin,  Moore's  Hill. 
“  Whate’er  the  Motive,  Pleasure  is  the  Mark,”  .  Lucy  L.  Coombs,  Utica. 


MUSIC. 


“Utility  of  Mystery,” 

“  Who  Grasps  the  Lever?  ” 


.  Alice  M.  Hayman,  Moore's  Hill. 
Mattie  A.  Sparks,  Moore's  Hill. 


•MUSIC. 


“  The  Superiority  of  Man,”  .  .  .  Sam’l  L.  Austen,  Moore's  Hill. 

“  Under  the  Sea,” . Thomas  C.  Kidd,  Moore's  Hill. 

- MUSIC. - 


“  The  Great  Conflict,”  .  .  .  .  C.  J.  M.  Harrison,  Moore's  Hill. 

“Ignorance  and  Vice,”  ....  John  Wm.  Moore,  Moore's  Hill. 
“Mind,  the  Measure  of  the  Man,”  .  Robert  W.  Wood.  Moore's  Hill. 

- MUSIC. - 

BACCALAUREATE  ADDRESS.  CONFERRING  DEGREES. 

- MUSIC.- - 


¥• 

eg 


|lmcbiction. 


- 215 - 


Jiarpef’s  lypograpfi ; 


- 216 - 


$oolt  of  Specimens. 


or, 


lllfl  & 

SURVEYORS 

Engineers  and  Draughtsmen 


IXIilton  Street,  Corner  liayn 

MILLER'S  BLOCK 


W 


‘^Militant  lie so r  &  (i'timp  anir. 


William  Resor. 
Jacob  Resor. 


RESOR  BLOCK,  - 


William  Resor,  Jr. 
I.  Burnet  Resor. 


smi 


^  acfure's  Of  the  Celebrated  Co^0* 


ft  a® 

S-i  AND 


5? 


South-East  Corner  Front  and  Race  Streets, 

0  t  •  c) 

cx3srcin^risr^.TX,  oxxxo. 

- : - <  rm^ 


o- 


BY  MORT.  A.  READ,  WITH  O.  H.  HARPEL,  CINCINNATI, 


(Bb) 


217- 


sfovHER  9m  nnsf 


Kissingen  Water 


tmm 


&  1  s 


T. 


CHAMPAIGNE. 

Veuve  Cliquot, . $4  00 

Carte  d’Or, . 4  00 

Piper  Heidsick, . 4  00 

Green  Seal, . 4  00 

RHINE  WINE. 

Leibfrauenmilch, . $2  00 

Forster  Reisling . 1  50 

Hochheimer, . 1  50 

Johannesberger . 1  50 

Red  Rhine  Wine, . 1  50 

SPARKILNG. 

Longwortli’s  Golden  Wedding,  2  50 

Longvvorth’s  Catawba, . 2  00 

Werk’s  Catawba, . 2  00 

DRY  CATAWBA. 

Dulime’s . 1  50 

Bogen’s  Seedling, . 2  25 

Werk’s . 1  50 

CALIFORNIA. 

Hock, . 2  00 

Port, . 2  00 

SHERRY. 

Old  Duff  Gordon, . 0  00 

Cabinet . 2  00 

Topaz, . 2  00 

MADEIRA. 

Old  Reserve . :l  00 

South  Side . 0  00 


PORT. 


London  Dock,. 
Sandeman, . 


...8  00 
..3  00 


CLARET. 

Chateau  Lafitte, . 3  00 

Chateau  La  Rose . 3  50 

St.  Julien,  ( Medoc,) . 1  50 

BRANDIES. 

Hennessy’s  Pale  Brandy, . 5  00 

Otard,  Dupuy  &  Co., . 4  00 

Fine  Old  Apple  Brandy, . 3  00 

Peach  Brandy, . 3  00 

RUM. 

Best  Jamaica, . 3  00 

Old  St.  Croix, . 3  00 

WHISKEY. 

Bourbon,  extra  fine, . 2  50 

Old  Monogahela, . 2  50 

Scotch, . 3  00 

Irish . 3  00 


GIN. 


Grape-leaf, . 

Genuine  Old  Tom, . 

ALE,  PORTER,  be. 

Younger’s  Edinburgh  Ale, . 

Barclay  Perkin’s  Porter, . 

Guinness’  Stout, . 

American  Ales  and  Porters,.. 


..3  00 
..2  00 


- 218 


o»j(  Book  of  Specimens. 


1 

i 

10BACKS 

Roback’s  Stom¬ 
ach  Bitters, 
unlike  all  other 
Bitters  in  the 
market,  possess 
intrinsic  merit. 

called,,  are  merely  wishiwasky  stuff ’ 
sold  as  a  beverage.  Dr.  Roback’s 
Bitters  are  not  a  beverage  in  any 
.  sense  of  the  word,  but  contain  the 
most  expensive  drugs  known  to 
science  for  the  radical  cure  of 
Indigestion  and  Dyspepsia,  and 
for  all  cases  where  a  tonic  and 

required.  They 
restore  the  vita! 
forces  in  a  re¬ 
markable  degree, 

;  and.  give  tone  to 
the  system. 

STOMACH 

JITTERS 

It  is  now  eleven 
years  since  Dr. 
Roback,  the  cel¬ 
ebrated  Swedish 
physician,  from 
Stockholm,  Sive- 

7 

country  and  introduced  the  Scan¬ 
dinavian  Blood.  Purifier;  since 
which  time  thousands  have  been 
cured,  by  its  use,  of  Scrofula  and 
other  blood  diseases.  It  contains, 
besides  the  Iodide  of  Potassa  and 
Syrup  of  Stillingia,  drugs  import¬ 
ed  from  Sweden  for  its  express 
manufacture,  unknown  and  not 

caries  i  n  t  h  i  s 
country.  A 
single  trial  ivill 
convince  the  most 
skeptical  of  its 
wonderf  ul  value. 

BURR 

PURIFIER 

Dr.  Roback’s 
Blood  Pills  are 
unsurpassed  by 
any  Pill  manu¬ 
factured  for  a 
similar  purpose. 

U.  S.  PROP.  MED.  CO. 

■Sole  Proprietors , 

Nos.  56  &  58  East  Third  Street, 
CINCINNATI,  OHIO. 

FOR  SALE  BY  DRUGGISTS  EVERYWHERE. 


219 - 


50 


HE  VIZES.  C.  M. 


WHERE  IS  MY  HOME?  8s  &  4. 


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1.  By  faith  in  Christ  I  walk  with  God,  With  heaven,  my  journey’s  end,  in  view: 


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DIAMOND  NUMERAL  MUSIC,  FROM  FRANKLIN  TYPE  FOUNDRY.  CINCINNATI. 
Jas.  A.  Waring,  Compositor 


- 221 - 


222 


Mffiy  Mcj  :'A//yy  /  '%/Miancf.  //'  Jhjclcfi  Jlifrumini  c  (T outpntw ,  <n 

ccndci/elatihn  0/  'HfloZ/aa  fo  Mem 

/  /  O  O 

/ureM  /y  Me  abater/  Aelemay^el  mr.meM  Me  iece/it  10/ elec/ a  /rlerfy  acdnew/eMyeM, 

Po  J/ifsurc  M 


Against  Loss  or  Damage  by  Fire  or  Lightning, 

(To  fife  Ittfount  of f 

y£l  Me  Seim 


^|ltd  il;ic  fslzix  tl  |2Po mp  itttxx  do  hereby  promise  and  agree  to  make  good  unto  the  said  assured . executors, 

administrators,  and  assigns,  all  such- immediate  loss  or  damage  not  exceeding  In  amount  the  sum  insured,  as  shall  happen  by  fire  to 

the  property,  as  above  specified,  from  the . day  of . .  one  thousand  eight  hundred  and  seventy- . ,  (at  12 

o’clock,  at  noon,)  unto  the . day  of . ,  one  thousand  eight  hundred  and . (at.  12  o'clock 

at  noon,)  the  said  loss  or  damage  to  be  estimated  according  to  the  true  and  actual  cash  value  of  the  property  at  the  time  the  same  shall 
happen  ;  and  to  be  paid  within  sixty  days  after  notice  and  proof  thereof  made  by  assured,  in  conformity  to  the  conditions  annexed  to 
this  Policy.  PROVIDED,  ALWAYS,  AND  IT  IS  HEREBY  DECLARED,  That  this  Company  shall  not  be  liable  to  make  good  any  loss 
or  damage  by  fire  which  may  happen  or  take  place  by  means  of  any  invasion,  insurrection,  riot,  or  civil  commotion,  or  of  any  military 
or  usurped  power,  or  any  loss  by  theft  at  or  after  a  fire.  AND  PROVIDED  FURTHER,  That  in  case  the  assured  shall  have  already  any 
other  insurance  against  loss  by  fire,  on  the  property  hereby  Insured,  and  not  notified  to  this  Company,  and  mentioned  in  or  endorsed 
upon  this  Policy,  then  this  insurance  shall  be  void  and  of  no  effect,  (etc.) 

This  Policy  shall  not  be  valid  until  countersigned  by  the  duly  authorized  Agent  of  said  ANDES  INS.  CO.  at . 

In  Witness  Whereof,  The  ANDES  INSURANCE  COMPANY  have  caused  these  presents  to  be  acknowledged  by  the  names 
of  their  President  and  Secretary,  of  the  city  of  Cincinnati,  and  State  of  Ohio. 

Countersigned  at  . this .  . day  of . .  A.  T>.  IS 7  — 


Secretary. 


,  Agent. 


-  Hampel's  ^ypog»|aph;  - 

- f - — - -  ■ 

EOBERT  ALLISON.  CHAS.  H.  SMITH.  HORACE  L.  JOHNSON. 

.  V-liSOS-  SMITH  A  Jog 

^  PROPRIETORS  OF 

The  Franklin  Type  Foundry, 

Ho.  IBS  VIHE  STREET, 

Everything  First-class,  CINCINNATI, 


- 223 


s 

M 

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W 

T 

Fi 

s 

2 

3 

4 

5 

6' 

7' 

8 

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n 

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IS 

19 

20 

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31 

-- 

FEBRUARY. 


S  M  T  W  T  F  S 


--  --  1 
6  7 1  8 
13  14| 15 
•JO  21122 
27  28  -  - 


2  3 
9  10 
16  17 
23  24 


MARCH. 


M  T 


'7  l 

14  15 

21  22 
28  29 


APRIL. 


S 

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w 

T 

F 

i 

8 

15 

22 

29 

SSS^I  w 

3 

10 

17 

24 

4 

41 

18 

25 

O  1C  wi 

6 

13 

20 

27 

7 

14 

21 

28 

MAY. 


M 

T 

w 

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c 

2 

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7 

9 

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ii 

12 

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IS 

19 

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31 

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28 

JUNE. 

s 

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1 1 

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1.3 

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“■ 

-- 

MERCANTILE 

JOB 

PRINTER 

S  8 

West  Fourth  Street, 


North  Side, 


0, 


PATRONS  FURNISHED  WITH 


S 

M 

T 

W 

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F 

S 

i 

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AUGUST. 


S 

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S 

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7 

8 

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IS 

19 

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24 

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31 

-- 

SEPTEMBER. 


S  M  T  W  T  F  S 


--  1 
7  8 
14  15 
21  22 
28  29 


OCTOBER. 


S 

M 

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NOVEMBER. 


S 

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__ 

224 - 


FOR  VICE-PRESIDENT:  FOR  PRESIDENT: 


f-f  A  R  P  E  L  '  S  JyPOGRAPH, 


-ts-nr 


P  e  d  i  t  a  t  i  0  n . 


WILLIAM  H.  ALLEN,  LL.  D., 

President  of  Girard  College . 

My  Friend  and  Classmate: 

fWO  reasons  have  specially  prompted  me  to  place  your 
name  in  this  little  volume.  One  is  the  fact  that  you 
have  so  long  and  so  successfully  devoted  your  eminent 
abilities  to  the  education  and  welfare  of  youth — a  work 
in  harmony  with  the  genius  of  this  my  humble  effort ; 
and  another  reason  is  founded  upon  those  invariably 
pleasant  relations ,  and  that  sincere  friendship,  which 
commenced  with  our  college  days,  and  upon  which 
time  and  separation  have,  as  I  trust,  exerted  no 
disturbing  influence. 

With  profound  and  affectionate  respect, 

Cljarlts  gltjams. 


E&EFEL’S  EYBO  6  B  Al'H  : 


The  above  engraving  was  executed  by  Mr.  GEO.  K.  STILLMAN,  Wood  Engraver,  Cincinnati,  with  a  Ruling  Machine, 
and  it  is  believed  to  be  the  only  thing  of  the  kind  ever  done  on  wood. 


\ 


- 226 


227 


j-fARPEL’S  JYPOGRAPH, 


PAPER.  45 

PRICES  PER  1000  OF  FRACTIONAL  SIZES  OF  PAPER. 


These  prices  include  the  customary  allowance  for  Waste  and  Surplus. 


Per 

Ream. 

Per 

Quire. 

Full 

Sheet. 

10 

to  Sheet. 

12 

to  Sheet. 

15 

to  Sheet. 

16 

to  Sheet. 

18 

to  Sheet. 

20 

to  Sheet. 

24 

to  Sheet. 

$11.00 

$ 

55 

$24 

20 

$2 

42 

$2 

02 

61 

$i 

51 

$i 

34 

$i 

21 

$i 

01 

11.25 

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24 

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2_ 

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2 

06 

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37 

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24 

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03 

11.50 

57  Mi 

25 

30 

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53 

2 

11 

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i 

58 

i 

40 

i 

27 

l 

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11.75 

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25 

85 

2 

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72 

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l 

29 

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07 

12.00 

.60 

26 

40 

2 

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2 

20 

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46 

i 

32 

i 

10 

12.25 

.61 V4 

26 

95 

2, 

69 

2, 

25 

i 

80 

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69 

l 

49 

i 

35 

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13 

12.50 

62% 

27 

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2 

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2 

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72 

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53 

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38 

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12.75 

63% 

28 

05 

2 

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28 

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67  Mi 

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2 

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13.75 

.  68% 

30 

25 

3 

02 

2 

52 

2 

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30 

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3 

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2 

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70 

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54 

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28 

14.50 

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31 

90 

3 

19 

2 

65 

2 

13 

i 

99 

i 

77 

i 

59 

i 

32 

15.00 

.75 

33 

00 

3 

30 

2 

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2__ 

20 

2 

06 

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83 

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15.50 

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34 

10 

3 

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2 

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2 

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3 

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2 

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37 

40 

3 

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3 

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2 

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2 

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17 . 50 

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3 

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3 

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2 

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2 

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92 

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18  00 

.90 

39 

60 

3 

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3 

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2 

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2 

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2 

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98 

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65 

18.50 

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40 

70 

4 

07 

3 

39 

2 

71 

2 

54 

2 

26 

2 

03 

i 

69 

19.00 

.95 

41 

80 

4 

18 

3 

48 

2 

79 

2 

61 

2 

32 

2 

09 

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74 

19.50 

.97% 

42 

90 

4 

20 

3 

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2 

86 

2 

68 

2 

38 

2 

1 1 

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78 

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i 

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44 

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3 

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2 

29 

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i 

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5 

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4 

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3 

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3 

57 

3 

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2 

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27.00 

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3 

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2 

47 

28,00 

L 

40 

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4 

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75 

Sheets  Required  ) 
for  1000  Copies.  ) 

Quires  Required  ) 
for  1000  Copies.  ^ 

1056 

Sheets. 

44 

Quires. 

105 

Sheets. 

4-2°4 

Quires. 

88 

Sheets. 

34* 

Quires. 

70 

Sheets. 

m 

Quires. 

66 

Sheets. 

Q  1  8 
\ 

Quires. 

59 

Sheets. 

241 

Quires. 

53 

Sheets. 

2-Af 

Quires. 

44 

Sheets. 

1  2(1 
*  ?4 
Quires. 

FROM  MR.  THEO.  L.  DE  VINNE'S  NEW  AND  VALUABLE  BOOK  FOR  PRINTERS — “THE  PRINTER'S  PRICE  LIST,' 


or,  J3ook  of  Specimens 


LETTER  CIRCULARS.  131 

A  Plain  Mitred  Pule  Border,  not  cut  to  order,  should  increase  the  price  of  the 
page  50  cents ;  if  cut  to  order  of  specially  selected  rule,  add  the  labor  of  mitering 
and  the  waste,  which  cannot  be  less  than  50  cents  additional,  and  may  be  $1 .00.  If 
the  rule  is  of  little  service  for  other  work  charge  half  its  cost. 

A  Rule  Border  Justified  to  lit  rule  corners  is  worth  from  50  cents  to  $1.00. 

A  Border  of  Two  Sets  of  Rules,  one  enclosed  within  the  other,  is  worth  from 
$1.50  to  $2.00  for  the  labor,  exclusive  of  value  of  rule. 

A  Plain  Flower  Border  may  be  rated  at  75  cents. 

A  Combination  Border  of  the  simplest  pattern,  and  largest  pieces,  is  worth 
$1.00.  Elaborate  Combination  Borders  on  Minionette  body  are  worth  from  $4.00  to 
$10  00  each.  Combination  Borders  for  Headings,  at  same  price  as  for  Note  Circulars. 

Electrotyping,  with  Blocking,  of  an  ordinary  Letter  Circular,  5 \  x  7 \  inches, 
is  worth  from  $2.65  to  $3.00. 


PRESSWOEK  OF  LETTER  CIRCULARS. 


Color  of  Ink. 

100. 

Every 

added 

100. 

500. 

lOOO. 

3000. 

per  1000. 

6000. 

per  1000 

ONE  PAGE. 

Black  Ink . 

$  .50 

$  .20 

$1.25 

$2.00 

$2.00 

$2.00 

Blue,  or  ordinary  Red . 

.75 

.30 

2.00 

3.00 

3.00 

3.00 

Fine  Red,  or  Purple . 

1.00 

.40 

2.50 

4.00 

4.00 

4.00 

TWO,  THREE,  OR  FOUR  PAGES. 

Black  Ink . 

.75 

.30 

2.00 

3.00 

2.50 

2.00 

Blue,  or  ordinary  Red . 

1.00 

.40 

3.00 

4.50 

3.75 

3.25 

Fine  Red,  or  Purple . 

1.50 

.60 

4.00 

6.00 

5.00 

5.00 

For  Woodcut  Presswork,  Presswork  in  Two  Colors,  or  in  Gold  Bronze,  or  from 
New  and  Fragile  Types,  see  remarks  on  page  125. 

The  prices  for  Fine  Red  or  Purple  are  insufficient  for  the  finest  work  and  the  best 
colors.  Six  Dollars  per  1000  impressions  on  small  forms,  and  Eight  Dollars  per  1000 
on  large  forms,  are  not  unreasonable  prices  where  great  brilliancy  of  color  is 
required.  If  color  is  used  in  excess,  these  prices  will  be  found  inadequate. 

Very  thin  or  very  rough  papers  require  au  increase  in  the  price  of  presswork. 


ESTIMATES  IN  DETAIL. 

One-page  Letter  Circular.— Double  Small  Pica  Script,  Black  ink,  half  sheet. 


Items. 

100. 

500. 

lOOO. 

3000. 

5000. 

10,000. 

2  set 

Paper,  6  lb.,  at  40  cts 

$  .26 

$1.32 

$2.64 

$7.92 

$13.20 

$26.40 

Composition . 

2.50 

2.50 

2.50 

2.50 

2.50 

5.00 

Presswork . 

.50 

1 .25 

2.00 

6.00 

10.00 

10.00 

Extra  for  new  type . 

.25 

.50 

.50 

1.50 

2.50 

2.50 

Total . 

$5.57 

$7.64 

$17.92 

$28.20 

$43.90 

If  a  full  sheet  Letter  Circular  is  wanted,  double  the  price  in  the  item  of  Paper.  If 
extra  work  is  wanted  on  composition,  add  the  extra  to  the  item  of  Composition.  If 
Blue  is  wanted,  add  one  half  to  the  item  of  Presswork.  If  Fine  Red  is  wanted,  double 
the  item  of  Presswork.  If  Script  type  is  not  new,  or  is  of  durable  face,  deduct  the 
item  of  Extra  for  New  Type. 


FROM  MR.  THEO.  L.  DE  VINNE'S  NEW  AND  VALUABLE  BOOK  FOR  PRINTERS - “THE  PRINTER'S  PRICE  LIST,”  ETC. 


- 229 - 


Jijpog^pi); 


($>(}>  1>$>4>a>  <£> — 


CHECKS.  165 


PRESSWORK  OF  CHECKS  IN  BLACK  INK. 


Quantities. 

One  Check  Set. 

1 

to  page. 

2 

to  page. 

3 

to  page. 

4 

to  page. 

5 

to  page. 

6 

to  page. 

One  Hundred  impressions . 

$  .50 

$1.00 

$1.20 

$1.50 

$1.75 

$2.00 

Every  added  Hundred . 

.20 

.25 

.30 

.35 

.40 

.40 

Five  Hundred  impressions . 

1.25 

2.00 

2.40 

2.90 

3.25 

3.60 

One  Thousand  impressions . 

2.00 

3.00 

3.75 

4.25 

4.75 

5.25 

Every  added  Thousand . 

2.00 

2.50 

2.75 

3.20 

3.(50 

4.00 

Five  Quires  of  Double  Cap, )  . . . . 

3.00 

4.10 

5.00 

6.00 

7.00 

12  to  sheet,  full  size . ) 

Ten  Quires  of  Double  Cap . 

5.75 

7.70 

9.00 

10.50 

11.50 

One  Beam  of  Double  Cap . 

11.50 

12.50 

14.40 

19.20 

23.00 

For  Red,  Blue,  Green,  or  Brown  Ink,  add  one-fourth  to  these  prices. 
For  Carmine  or  Purple,  of  best  quality,  add  one-half  to  these  prices. 


PRESSWORK  OF  CHECKS  IN  BLACK  INK. 


Two  Set. 

Three  Set. 

4,  5 

Quantities. 

2 

to  page. 

4 

to  page. 

6 

to  page. 

3 

to  page. 

5 

to  page. 

6 

to  page. 

or  6 
Set. 

One  Hundred  impressions. 

$  .50 

$1.00 

$1.50 

$  .75 

$1 . 50 

$1.25 

$  .75 

Every  added  Hundred .... 

.20 

.25 

.30 

.20 

.25 

.25 

.25 

Five  Hundred  impressions 

1.25 

2.00 

2.70 

1.50 

2.50 

2.25 

1.75 

One  Thousand  impressions 

2.00 

3.00 

4.00 

2.50 

3.50 

3.25 

3.00 

Every  added  Thousand. . . 

2.00 

2.50 

3.00 

2.00 

2.50 

2.75 

2.50 

Five  Quires  of  Dbl.  Cap,) 

12  to  sheet,  full  size....  ) 

1.90 

2.75 

3.40 

1.50 

2.50 

2.25 

1.25 

Ten  Quires  of  Double  Cap 

3.00 

4.25 

5.25 

2.50 

3.50 

3.25 

2.00 

One  Beam  of  Double  Cap. 

5.75 

8.64 

4.50 

5.50 

5.50 

4.00 

Every  added  Ream . 

7.50 

3.00 

For  Red,  Blue,  Green,  or  Brown  Ink,  add  one-third  to  these  prices. 

For  Carmine  or  Purple  Ink,  of  best  quality,  on  forms  of  two  or  four  Checks, 
add  one-lialf  to  these  prices;  on  forms  of  five  or  six  Checks,  double  price  of  Black. 

Checks  in  Two  Colors.  For  an  ordinary  form,  rate  the  presswork  of  Red  at  one- 
lialf  more  than  the  price  of  Black,  viz :  The  price  of  500  Checks,  3  to  page,  1  Check 
set  up,  in  Black  ink,  is  $2.40 ;  Red  ink,  one-half  more,  is  $3.60;  total,  $6.00.  If  Check 
is  in  Red  and  Blue,  rate  hoth  colors  at  the  price  of  Red,  $3.60  each,  or  $7.20.  This  is 
for  presswork  only.  For  making-up  the  color-form,  the  price  should  vary  with  the 
time  spent  on  it.  Making-up  one  or  three  lines  of  name  of  bank  only,  would  be 
fairly  paid  at  50  cents  for  the  full  form ;  but  if  the  color-form  includes  border-rules 
or  name  in  end-piece,  the  charge  for  making-up  should  be  not  less  than  75  cents  for 
each  Check.  If  exact  register  is  needed,  $1.25  each,  or  more. 

Checks  with  Tinted  Ground-work.  The  special  engraving  of  a  Plain  Flat 
Check-tint,  on  boxwood  or  type-metal,  with  ornamental  marginal  line  only,  may 
be  rated  at  $3.00.  A  Ruled  Tint-block,  of  any  pattern,  is  worth  $6.00  $7.00. 

The  Cutting-in  of  Name.  Initials,  Monogram,  or  Lights  to  a  Vignette,  will  be  an 


FROM  MR.THEO.  L.  DZ  VINNE’S  NEW  AND  VALUABLE  BOOK  FOR  PRINTERS — “THE  PRINTER’S  PRICE  LIST,"  ETC. 


- 230 


($>d> 


— «$-*3)-<D  0  lr,  o o H  of  S p  ecityens. 


POSTERS.  229 


The  prices  of  this  page  are  for  Presswork  only. 

9V2  X  12  inches,  Quarter  Medium — One-eighth  of  24  x  38. 
Same  prices  may  be  used  for  size  10  x  14,  and  all  smaller  sizes. 


Color  of  Ink. 

100. 

Every 

added 

100. 

250. 

500. 

lOOO. 

3000. 
per  1000. 

5000. 

per  1000. 

10  M. 
per  1000. 

Black . 

$  .50 

$  .20 

$  .80 

$1.25 

$2.00 

$1.75 

$1.60 

$1.50 

Blue . 

1.00 

.25 

1.40 

2.00 

3.00 

2.75 

2.50 

2.50 

Red . 

1.00 

.33 

1.50 

2.35 

4.00 

3.50 

3.00 

3.00 

Red  and  Black . 

1.50 

.40 

2.10 

3.10 

5.00 

4.50 

4.00 

4.00 

llhk  x  16  inches,  Quarter  Imperial — One-eighth  of  32  x  46. 

Same  prices  may  be  nsed  for  size  12  x  12  inches. 


Color  of  Ink. 

100. 

Every 

added 

100. 

250. 

500. 

lOOO. 

3000. 
per  1000. 

5000. 

per  1000, 

10  M„ 

per  1000. 

Black . 

$  .50 

$  .25 

$  .90 

$1.50 

$2.50 

$2.00 

$1.75 

$1.50 

Blue . 

1.00 

.30 

1.50 

2.25 

3.50 

3.00 

2.75 

2.75 

Red . 

1.00 

.40 

1.60 

2.75 

4.50 

4.00 

3.50 

3.25 

Red  and  Black . 

1.50 

.50 

2.25 

3.50 

6.00 

5.50 

5.00 

4.50 

12  x  19  inches,  Half  Medium . .  .One-fourth  of  24  x  38. 

Same  prices  may  be  used  for  size  14  x  14  inches. 


Color  of  Ink. 

100. 

Every 

added 

100. 

250. 

500. 

lOOO. 

3000. 
per  1000. 

5000. 
per  1000. 

10  M. 

per  1000. 

Black . 

$  .60 

$  .30 

$1.00 

$1.75 

$3.00 

$2.50 

$2.25 

$2.00 

Blue . 

1.00 

.40 

1.60 

2.50 

4.00 

3.75 

3.50 

3.00 

Red . 

1.00 

.50 

1.75 

3.00 

5.00 

4.50 

4.25 

4.00 

Red  and  Black . 

1.50 

.60 

2.40 

4.00 

7.00 

6.50 

6.00 

6.00 

14  x  21  inches,  Half  Hoyal _ One-fourth  of  28  x  42. 

Same  prices  may  be  used  for  size  15  x  16  inches. 


Color  of  Ink. 

100. 

Every 

added 

100. 

250. 

500. 

750. 

lOOO. 

2000. 

per  1000. 

5000. 

per  1000. 

Black . 

$  .75 

$  .30 

$1.20 

$2.00 

$2.75 

$3.50 

$3.00 

$2.50 

Blue . 

1.00 

.50 

1.75 

3.00 

4.00 

5.00 

4.50 

4.00 

Red . 

1.25 

.60 

2.15 

3.65 

5.  /  0 

6.50 

5.50 

5.00 

Red  and  Black . 

2.00 

.90 

3.35 

5.60 

8.75 

10.00 

9.00 

8.00 

When  very  little  color  is  used,  as  will  be  the  case  in  a  very  light  and  open  Poster 
set  in  Roman  or  Old  Style,  the  price  may  be  abated  nearly  to  that  of  Handbills  in 
sheets,  as  given  on  page  217.  For  a  very  bold-faced  Poster  compactly  set  in  Antique, 
with  much  large  type,  more  color  will  be  used  and  a  higher  price  may  be  needed. 


FROM  MR.  THEO.  L.  DE  VINNE'G  NEW  AND  VALUABLE  BOOK  FOR  PRINTERS — “THE  PRINTER’S  PRICE  LIST,”  ETC. 


- 231 


HARPER'S  TYPOGRAPH. 


- 232 


FAMILY  SCENE  IN  POMPEII. 


No.  11.) 


By  permission — from  the  “  Illustrated  Union  Hand-Book  for  I 


871,”  published  by  C.  W.Starbuek  &  Co.  of  the  Cincinnati  Times. 


The  Press  Room. 

- <*>>*<». - 


(  CONTINUED  FROM  PAGE  48.) 


When  fine  red  inks  or  inks  containing  much  red  are  to  be  used  on 
eleiftrotype  or  copper-plates,  the  latter  should  be  silver-plated  or  well- 
washed  two  or  three  times  with  liquid  silvering  solution,  which  must  be 
allowed  to  “set”  before  being  used;  otherwise  the  chemical  properties  of 
the  copper  will  produce  a  disagreeable  change  of  the  color.  We  give  a 
recipe  for  making  an  excellent 


Silvering  Solution  for  Electrotype  Plates. 


Nitrate  of  Silver  2  drachms  ;  Distilled  Water  37  drachms.  Dissolve,  and  add  Sal  Ammoniac 
1  drachm  ;  Hydrophosphite  of  Soda  4  drachms  ;  Precipitated  Chalk  4  drachms. 

Agitate  the  preparation  occasionally  for  twelve  hours,  when  it  will  be  ready  for  use.  Apply 
with  a  piece  of  fine  sponge. 

When  colored  inks  are  dull,  tough,  dry,  or  work  badly,  they  may  be 
softened,  improved,  and  brightened  by  using  different  articles.  Here  are 
recipes  for  making  some  of  the  best: 

A  Liquid  for  Brightening  Common  Qualities  of  Black  or  Colored  Inks. 

Demar  Varnish  1  ounce  ;  Balsam  Fir  l/z  ounce ;  Oil  Bergamot  25  drops  ;  Balsam  Copaiba  35 
drops  ;  Kreosote  10  drops  ;  Copal  Varnish  50  drops.  Use  in  small  quantities. 

This  has  been  sold  for  some  time  under  a  variety  of  names,  such  as  “  Indispensable,” 
<(  Pre-requisite,”  etc. 

The  whites  of  fresh  eggs  are  also  brighteners  of  colored  inks;  but  they  must  be  applied  a 
little  at  a  time,  as  they  dry  very  hard,  and  are  apt  to  take  away  the  sutftion  of  rollers  if  used  for 
any  extended  period. 


A  Good  Reducing  Dryer. 


Brown’s  (  genuine  )  Japan.  Use  in  small  quantities. 

Hardening  Gloss  for  Inks. 

Gum  Arabic  dissolved  in  Alcohol  or  a  weak  dilution  of  Oxalic  Acid.  Use  in  small  quantities, 
and  mix  with  the, ink  as  the  latter  is  consumed. 


To  give  Dark  Inks  a  Bronze  or  Changeable  Hue. 


Take  1%  lbs.  Gum  Shellac  and  dissolve  it  in  1  gallon  95  per  cent.  Alcohol  or  Cologne  Spirits 
for  24  hours.  Then  add  14  ounces  Analine  Red.  Let  it  stand  a  few  hours  longer,  when  it  will  be 
ready  for  use.  Add  this  to  good  blue,  black,  or  other  dark  inks  as  needed,  in  quantities  to  suit, 
when,  if  carefully  done,  they  will  be  found  to  have  a  rich  bronze  or  changeable  hue. 

Quick  Drying  Preparation  for  Inks  to  be  used  on  Bookbinders’  Cases. 

1  ounce  Bees  Wax ;  ounce  Gum  Arabic  dissolved  in  Acetic  Acid  sufficient  to  make  a  thin 
mucilage  ;  Jr  ounce  Brown’s  Japan.  Incorporate  with  one  pound  of  good  Cut  Ink. 

We  also  subjoin  the  following  recipes,  which  may  be  of  service  to 
some  of  our  subscribers: 


To  make  Lithographic  Transfer  Writing  Ink. 


Shellac  1  y2  ounces  ;  Good  Soap  2  ounces  ;  White  Wax  1  ounce  ;  Tallow  1  ounce.  Add  three 
tablespoonsful  of  strong  solution  of  Gum  Sardarac ;  and  when  the  whole  is  prepared,  color  with 
Ivory  Black  or  the  best  Lampblack. 


To  make  a  Strong  and  Durable  Paste. 


One  full  quart  of  good  Wheat  Flour;  two  gallons  Cold  Water.  Mix,  and  rub  out  with  the 
hands  all  lumps  that  are  formed  by  the  flour.  Then  add  about  one-quarter  of  a  pound  of  pulverized 
alum,  and  boil  the  whole  together  eight  or  ten  minutes,  or  until  the  mass  thickens,  stirring  it  well 
all  the  time.  Now  add  a  quart  of  hot  water,  and  boil  until  the  paste  becomes  thick  again  and  of 
a  pale  brownish  tint.  When  well  made,  it  will  be  perfectly  clear  and  free  of  lumps,  and  keep 
from  ten  to  fifteen  days. 


—  233 


The  Press  Room. 

o 


Gum  for  Backing  Labels. 

Take  any  quantity  of  clear,  pure  Dextrine  and  mix  it  with  boiling  water  until  it  assumes 
the  consistency  of  ordinary  mucilage.  Apply  thinly  with  a  full-bodied,  evenly-made,  and  wide 
camel’s  hair  brush.  The  paper  should  not  be  too  thin  or  unsized.  This  preparation  will  dry 
quickly,  and  adhere  when  slightly  wet. 


Offsetting,  or  having  the  back  of  a  sheet  marked  by  the  printing  on  the 
one  placed  under  it,  may  be  obviated  by  piling  sheets  irregularly,  and  not 
permitting  them  to  accumulate  until  they  become  weighty.  Printing  done 
on  dry,  highly  polished,  and  hard  paper,  should  be  laid  out  thinly  upon  a 
drying  rack.  Where  great  liability  to  offset  exists,  it  is  best  to  place  slip- 
sheets  of  thin,  cheap  paper  between  the  printed  sheets. 

Rice  paper,  or  good  rag  news,  makes  excellent  slip-sheets  to  prevent 
offsetting  on  sheets  that  must  be  turned  and  printed  before  the  first  side 
is  dry,  especially  in  wood-cut  presswork. 

When  tympans  become  marked  from  sheets  that  are  printed  on  both 
sides,  they  may  be  quickly  cleaned  by  rubbing  a  piece  of  raw  cotton  charged 
with  benzine  over  them.  This  dries  at  once,  and  does  not  soil  like  oil, 
which  is  sometimes  used. 

Printing  on  parchment  is  sometimes  troublesome  because  of  the  animal 
fat  that  remains  in  the  parchment.  By  rubbing  the  sheet  over  with  a  clean 
piece  of  cotton,  dampened  with  purified  benzine,  previous  to  printing,  a 
good  impression  can  be  had.  But  generally,  if  high  grade  ink  is  used,  with 
little  or  no  reduction  by  varnish,  it  will  print  parchment  well. 

When  bronze,  smalts,  flock,  or  dry  colors  are  to  be  used  in  printing, 
the  size  should  be  of  the  best  possible  quality,  and  tenacious  in  its  hold 
upon  the  paper,  as  well  as  upon  the  article  to  be  employed.  White  size 
tinted  to  suit  the  bronze,  smalts,  etc.,  should  be  used  for  fine  work. 

Bronze  should  be  applied  with  the  finest  cotton  wool,  or  a  piece  of  the 
best  otter  pelt,  and  wiped  oft'  and  polished  with  clean  cotton  or  fur  before 
the  sizing  becomes  too  hard,  being  cautious  that  no  scratches  are  made  by 
the  finger  nails  or  from  sand  in  the  cotton. 

Smalts  are  generally  sifted  through  a  fine  sieve  upon  the  printed  sheet 
until  it  is  covered  with  a  sufficient  quantity  to  give  it  a  coating,  and  the 
surplus  material  shaken  off  when  the  size  is  dry. 

Flock  requires  a  very  strong  size  to  hold  it  on  the  paper  firmly,  and  it 
should  be  laid  on  smoothly  and  evenly.  It  may  be  rubbed  through  a  sieve 
also,  and  pressed  on  with  a  fine  buckskin  pad.  Passing  sheets  or  cards 
printed  with  bronze  or  flock  between  polished  iron  cylinders  improves  the 
appearance  of  the  work  very  much. 

Dry  colors  are  applied  the  same  as  bronze. 

The  maintenance  of  a  uniform  and  full  color,  yet  without  having  more 
ink  at  one  time  upon  the  rollers  or  form  than  is  required  to  do  this,  is 
always  essential  to  produce  neat  presswork.  If  sheets  are  allowed  to  be 
printed  in  alhthe  various  shades  of  an  ink, —  from  its  intensest  depth  to  its 
greyer  tints, — they  will  appear  badly  when  placed  side  by  side,  especially 
in  book  work.  The  supply  of  ink  should  therefore  be  regulated  exactly 
according  to  the  consumption. 


F 


'  234 


The  Press  Room. 


PRINTING  WITH  COLORED  INKS,  ETC. 

The  employment  of  colored  and  tinted  inks,  either  singly  or  in  har¬ 
monious  combinations,  is  now  so  generally  expetfted  from  job  printers, 
that  some  reliable  notes  for  the  guidance  of  those  not  yet  familiar  with 
the  management  of  colors  in  printing  cannot  but  be  acceptable. 

We  have  gathered  from  M.  Chevrecl’s  able  and  complete  treatise  on 
“  The  Principles  of  the  Harmony  of  Contrast  of  Colors ,”  corroborated  by 
other  writers  on  the  subjedt  and  our  own  experience  and  experiments,  the 
following  fadts,  which  will  be  found  to  embrace  most  of  the  rules  necessary 
to  be  observed  in  mixing  and  arranging  colors  used  for  printing.  But  it 
must  not  be  assumed  that  the  mere  didtations  of  fancy  will  insure  eftedtive 
combinations  of  colors.  Certain  unchangeable  laws  of  natural  harmony 
that  govern  all  colors  have  so  arranged  themselves  as  to  be  always 
arbitrary.  The  proper  appreciation  of  these  laws  will  always  result  in 
producing  pleasing  effedts  in  great  variety;  while  an  indifference  to,  or 
ignorance  of,  them  will  fail  to  accomplish  anything  desirable. 

In  the  first  place,  White  Light  is  held  to  be  composed  of  three  primary  colors — yellow, 
red,  and  blue,  properly  blended.  From  these  three  primaries,  which  may  be  proportioned  and 
mingled  almost  infinitely,  are  produced  all  the  hues  that  are  known. 

If  two  of  the  primary  colors  are  mixed,  they  produce  a  secondary  color.  Thus,  yellow  and 
red  make  orange;  red  and  blue  combined  form  violet ;  blue  and  }rellow  give  green.  Each  of  these 
secondary  colors  harmonize  perfectly  with  the  primary  that  does  not  enter  into  its  composition. 
So,  for  example,  orange,  made  from  yellow  and  red,  contrasts  perfectly  with  blue ;  green,  a  mixture 
of  blue  and  yellow,  harmonizes  with  red ;  and  violet,  formed  by  combining  red  and  blue,  agrees 
with  yellow.  Each  of  these  contrasting  colors  brightens  the  other:  a  violet  and  a  yellow,  for 
instance,  being  much  brighter  when  placed  side  by  side  than  when  seen  separately.  These 
results  are  what  is  termed  the  Harmony  of  Contrast  of  Colors.  Nature  furnishes  numberless 
specimens  of  this;  harmony  of  contrast. 

The  best  contrasts  are  those  that  are  formed  from  the  primary  colors  ;  and  the  three  primaries 
also  form  a  good  harmony  when  placed  together.  Colors  that  do  not  contrast  diminish  the 
brightness  of  each  other  when  placed  together.  Red,  which  becomes  more  brilliant  beside  green, 
is  weakened  by  being  placed  against  orange.  But  neither  red  nor  blue  contrasts  well  with  violet, 
because  the  latter  has  each  of  them  in  its  composition.  In  cases  where  their  coming  together 
cannot  be  avoided,  the  dulness  produced  may  be  partially  overcome  by  adding  a  little  of  the 
opposite  color.  For  example,  if  a  violet  has  to  contrast  with  red,  add  a  shade  or  two  of  blue  to 
the  violet,  rendering  it  purple.  If,  however,  the  violet  has  to  harmonize  with  blue  or  green,  add 
more  red  to  it. 

The  'Tones  of  a  color  consist  of  the  series  of  gradations  that  may  be  made  with  it  by  weakening 
its  greatest  point  of  intensity  with  white,  or  deepening  it  with  black. 

Tints  are  the  tones  of  a  color  produced  by  the  addition  of  white  added  to  the  normal  color. 

A  hue  is  the  change  produced  in  a  color  by  adding  to  it  another  color.  The  original  color 
must  always  be  in  the  ascendant,  or  it  becomes  a  hue  of  the  color  added  to  it. 

Shades  are  the  tones  of  a  color  produced  by  the  mixing  of  black  with  the  normal  color. 

Tertiary  Colors  are  formed  by  a  mixture  of  two  secondary  colors.  Thus,  orange  and  green 
make  what  is  called  citrine — a  pleasant  hue  wherein  yellow  predominates,  because  it  occurs  in 
each  of  the  secondaries  from  which  it  is  made.  Purple  or  deep  violet  and  orange  make  russet, 
wherein  red  is  the  strongest  hue  for  the  same  reason  that  yellow  is  in  citrine.  Olive ,  formed  from 
deep  violet  and  green,  is  the  third  and  last  tertiary  color,  and  has  blue  for  its  predominating  hue. 
Tertiary  colors  are  also  termed  colored  greys.  Thus,  citrine  is  yellow-grey ;  russet  is  red-grey ; 
olive  is  blue-grey. 

Normal-grey  is  merely  a  mixture  of  pure  black  and  white,  mixed  in  various  proportions, 
producing  a  variety  of  tones  from  white  to  black.  When  a  primary  or  secondary  color  is  added 
to  a  normal -grey,  it  becomes  a  colored-grey. 


—  235  — 


\<?QsQ^£QX5^ASfcS£G. 


:o&&£QX?Qa9^)£Q^QA 


The  Press  R  o  o  in  . 

- o - 

The  Luminous  or  Warm  Colors  are  Yellow,  Orange,  Red,  Light  Green,  and  the  light 
tones  of  sombre  colors. 

The  Sombre  or  Cold  Colors  are  Blue,  Violet  or  Purple,  and  the  broken  tones  of  the 
luminous  colors. 

Colors  with  Black. — In  all  contrasts,  the  depth  of  the  color  is  an  important  element,  but 
especially  so  in  such  as  are  to  be  affedled  by  the  presence  of  black.  In  but  few  instances  will 
th^  latter  bear  the  neighborhood  of  a  very  deep  color  to  advantage,  while  it  harmonizes  with  the 
lighter  ones  by  contrast  of  tone.  Yellow,  from  its  near  approach  to  white,  should  always  be 
worked  “  full ;”  orange  and  green  should  also  be  full,  and  moderately  deep  in  tone,  to  contrast 
with  black.  If  a  blue  is  employed,  it  should  be  light,  or  it  will  impoverish  the  black  and  be 
weakened  itself.  A  very  light  blue  border,  with  a  broad  margin  of  white  between  it  and  the 
body  of  matter  enclosed,  will  give  a  clean,  bright  look  to  black  ink,  and  whiteness  to  the  paper 
A  light  pink  (such  as  carmine  reduced  with  flake  white  or  with  clear  varnish)  is  also  good  ;  yet 
perhaps  the  preceding  is  preferable.  Dark  and  heavy  borders  are  frequently  a  positive  injury  to 
printing,  where  the  working  in  a  light  shade  would  have  secured  a  good  effedt ;  for  the  border 
should  always  be  so  far  secondary  to  the  matter  enclosed  as  not  to  draw  off  the  attention  too 
much  to  itself. 

Colors  on  Tinted  Papers  and  Tinted  Grounds. — Besides  the  kind  of  harmony  already 
mentioned,  there  is  another,  which  is  produced  by  the  contrast  of  light  and  dark  shades  of  the 
same  color.  This  might  be  employed  in  printing  more  frequently  than  it  is  at  present  with 
some  advantage,  as  the  effetfls  it  is  capable  of  yielding  are  very  chaste  and  pleasing.  In  a 
photograph  or  an  engraving,  all  the  effedt  is  dependent  on  difference  of  tones  of  one  color;  and 
the  beauty  of  a  wood  in  summer  consists  chiefly  in  the  contrast  displayed  by  a  variety  of  shades 
of  green  only.  A  deep  green  ink  on  a  paper  of  a  light  tone  of  the  same  color  is  especially  good  if 
a  heavy  letter  is  used;  and,  indeed,  in  most  printing  in  colors,  full,  solid-faced  letters  should  be 
preferred  to  outlines  or  shaded  ones,  which  are  difficult  to  work,  and  have  at  best  but  an  inferior 
appearance,  unless  the  darkest  tones  are  employed.  A  deep  blue  on  a  light  blue  ground,  or  against 
a  light  blue  border,  is  also  good ;  and,  without  the  latter  accompaniment,  it  is  not  unpleasant  on  a 
blue  wove  writing-paper.  To  secure  the  proper  effedt,  however,  the  tints  should  be  of  the  same 
hue — that  is,  if  the  groundwork  is  of  a  bluish  green,  the  color  that  is  to  be  worked  upon  it  should 
also  be  a  green,  inclining  to  blue;  if,  on  the  other  hand,  the  ground  is  of  a  yellower  green,  the 
body  of  ink  should  also. be  yellower ;  and  so  on.  This  may  easily  be  managed  by  adding  a  small 
portion  of  ink  of  the  color  required,  until  the  hue  is  matched. 

Neutral  Tints. — In  seledting  borders  for  the  more  chaste  description  of  printing,  it  is  a 
pretty  safe  rule  to  avoid  such  as  cover  much  surface,  if  they  are  to  be  worked  in  any  strong  color 
or  in  black.  When  lighter  tints  are  used,  they  will  bear  extension  over  a  larger  surface  ;  and  in 
this  case,  a  pale  grey  or  neutral  border  will  have  a  beneficial  effedl:  on  any  body  with  which  it  is 
contrasted,  as  well  as  on  black  itself,  which  is  purified  by  its  proximity.  If  the  central  printing 
is  in  black  only,  or  in  black  and  yellow,  a  lavender  grey  may  be  substituted  for  the  border.  And 
in  any  case  in  which  the  central  matter  is  all  in  one  color,  it  will  improve  it  to  have  a  border  of 
grey  that  is  slightly  tinged  'with  the  complementary  of  such  color.  Thus,  if  the  body  be  red,  a 
very  small  portion  of  green  may  be  added  to  the  grey;  and  so  forth. 

Broken  Colors  are  those  in  which  all  three  of  the  primaries  exist. 

Complementary  Colors. — The  primary  or  the  secondary  colors  requisite  to  make  up  the 
complement  of  colored  rays  that  constitute  white  light.  The  complementary  of  a  primary,  as 
red,  is  the  secondary  of  the  other  two  primaries  (green),  and  vice  versa. 

Mixtures,  etc.,  that  produce  Tones,  Hues,  Tints,  and  Shades  of  Color. 

Yellow  and  Carmine  or  Deep  Red  produce  Scarlet  or  Vermillion. 

Carmine  and  Blue  produce  Deep  Lilac,  Violet,  and  Purple. 

Blue  and  Black  produce  Deep  Blue  or  Blue-Black. 

Carmine,  Yellow,  and  Black  produce  rich  Brown. 

Yellow  and  Black  make  Bronze  Green. 

Yellow,  Blue,  and  Black  make  Deep  Green. 

Yellow  and  Blue  produce  Bright  or  Light  Green. 

Carmine  and  White  make  Pinks  of  any  depth. 

Ultramarine,  White,  and  Carmine  form  the  deeper  tones  of  Lilac,  etc. 

—  236- 


The  Press  R  o  o  m . 


Violet  and  White  produce  Pale  Lilac  or  Lavender. 

Cobalt  alone  or  with  White  is  a  lively  Pale  Blue. 

Chinese  Blue  makes  a  deep  Bronze  Blue  Ink. 

Emerald  Chrome,  Pale  Lemon  Chrome,  and  Chinese  Blue  make  any  tone  of  Emerald  Green 
Ink  required. 

Amber  is  made  from  Pale  Yellow  Chrome  and  Carmine. 

Red  Brown  may  be  made  with  Burnt  Umber  and  a  little  Scarlet  Lake. 

Light  Brown  is  made  from  Burnt  Sienna,  shading  with  Lake. 

Salmon  may  be  made  by  a  combination  of  White,  Burnt  Sienna,  and  a  little  Orange  Chrome 
to  suit  the  fancy. 

Combinations  of  Inks  that  Harmonize  Well. 

Two  Colors. — Scarlet  Red  and  Deep  Green;  Orange  and  Violet;  Light  Blue  and  Deep 
Red;  Yellow  and  Blue;  Black  and  Salmon;  Black  and  Light  Green;  Dark  and  Light  Blue; 
Carmine  and  Emerald. 

Three  Colors. — Red,  Yellow,  and  Blue;  Orange,  Black,  and  Light  Blue;  Light  Salmon, 
Dark  Green,  and  Scarlet ;  Brown,  Light  Orange,  and  Purple  ;  Dark  Brown,  Orange  Yellow,  and 
Blue  ;  Crimson  Lake,  Greenish-Yellow,  and  Black. 

Four  Colors. — Black,  Green,  Dark  Red,  and  Sienna;  Scarlet,  Dark  Green,  Lavender,  and 
Black;  Ultramarine  or  Cobalt  Blue,  Vermillion,  Bronze  Green,  and  Lilac;  Sienna,  Blue,  Red, 
and  Black. 

Tints  of  any  desired  depth  may  be  made  by  putting  down  a  finely  ground  white  ink  as  a 
basis,  and  toning  it  with  the  color  desired — whether  a  primary,  secondary,  or  tertiary. 

Varnish  tints  are  made  by  adding  color  to  full-bodied,  well-boiled  printers’  varnish,  using  a 
little  soap  and  drying  preparation  to  make  them  work  smoothly  and  dry  quickly. 

In  mixing  tints  to  print  with,  the  muller  should  be  used  to  rub  in  the  color  thoroughly  ; 
otherwise  the  work  is  liable  to  be  streaky. 

It  is  advisable  to  mix  no  more  of  a  tint  than  is  needed  for  the  work  in  hand. 

Most  colored  printing  inks  work  best  if  applied  to  the  rollers  a  little  at  a  time  until  the  depth 
of  color  desired  is  reached,  as  it  distributes  slower  than  black,  and  is  more  liable  to  thicken  upon 
and  clog  the  type  when  too  great  a  quantity  is  used  at  once. 

In  order  to  do  fine  printing  with  colored  inks,  it  is  of  great  importance 
that  everything  connected  with  the  work  be  perfectly  clean — form,  stone, 
press,  and  rollers.  The  quality  and  finish  of  the  paper,  etc.,  and  size  of 
type  to  be  printed  thereon,  should  also  be  considered.  Soft  paper  and 
heavy  lines,  or  coarse  cuts,  will  require  the  less  expensive  inks,  and  such 
as  are  soft  without  much  tenacity;  while  highly  polished,  hard  surfaces, — 
as  on  enamelled  cards,  etc. — call  for  the  finer  grades.  All  good  colored 
inks  should  work  free,  and  without  gumminess  or  toughness,  no  matter 
what  the  price  of  them  may  be. 

When  the  weather  is  cold  or  variable,  it  is  often  necessary  to  temper 
colored  inks  more  or  less.  But  this  should  be  done  with  great  caution  and 
in  small  quantities  by  the  inexperienced.  The  best  reducing  preparations 
added  to  the  ink  in  very  small  quantities,  but  sufficient  to  produce  the 
desired  result,  are  generally  sufficient.  Oils  or  varnishes  used  in  improper 
quantities  impair  the  brightness  of  a  color,  and  produce  a  greasiness  or 
“curdle”  that  prevents  them  from  distributing  evenly  and  solidly. 

A  heavier  impression  and  dwell  than  usual  upon  surfaces  printed  with 
colors  is  generally  necessary,  as  such  inks  have  peculiar  bodies,  and  do 
not  take  hold  of  paper  so  easily  as  black.  For  very  fine  color  work,  a 
press  that  has  a  trip  or  contrivance  to  throw  off  and  on  the  impression, 
to  admit  of  repeated  rolling,  is  best. 


J 


-A 


1 


1 


OVERLAYING  CUTS. 


The  popular  opinion  of  a  wood  engraving,  or  its  copper  or  type-metal 
representative,  is  inseparable  from  its  treatment  by  the  pressman.  If  the 
cut  is  badly  printed,  the  verdidt  is — “It  is  a  poor  cut;”  while  a  carefully 
overlaid  and  well-printed  cut  is  termed  “  A  good  piece  of  engraving.” 
But  the  criticism  may  be  totally  incorredt  in  either  case;  for  that  which 
is  condemned  may  be  intrinsically  a  beautiful  and  meritorious  work  of 
art,  while  that  which  is  praised  may  be  nothing  of  the  kind  beyond  what 
the  printer  has  wrought  for  it. 

As  far  as  pradticable,  the  printer’s  and  engraver’s  arts  should  be 
accommodated  to  each  other,  and  we  are  glad  to  observe  that  a  disposition 
to  do  this  is  becoming  more  common  than  formerly. 

The  engraver's  proof  is  generally  considered  to  exhibit  the  standard 
of  effedt  the  engraving  is  capable  of  producing.  Using  the  best  of  ink 
carefully  laid  on  the  block,  and  paper  manufadtured  expressly  for  the 
purpose  of  proving  his  work,  the  engraver  skilfully  “brings  out,”  by 
means  of  his  smooth  ivory  burnisher,  the  strongest  effedts,  treating  more 
gently  the  middle  tones,  giving  a  proper  degree  of  finish  and  delicacy  to 
the  fading  tints,  and  treating  the  lights  and  mere  tracery  that  expresses 
distance,  etc.,  with  a  view  to  preserve  that  harmonious  yet  natural  eft'edt 
so  pleasing  to  the  critical  eye,  and,  at  the  same  time,  making  visible  the 
thought  or  thing  to  be  expressed  definitely  and  according  to  the  artist’s 
intention. 

In  first-class  printing  from  wood-cuts,  the  engraver’s  proof  may  be 
quite  equalled,  and  sometimes  surpassed,  in  many  features.  Examples  of 
this  fadt  may  be  found  in  Mitchell’s  work  on  “ The  Birds' ’  and  in 
numerous  other  of  our  finest  holiday  books. 

Aside  from  the  quality  of  the  paper  or  ink,  one  of  the  chief  processes 
by  which  effedt  from  cuts  is  reached,  is  by  what  is  termed  “overlaying;” 
and  to  do  this  well  is  not  the  least  accomplishment  of  the  thorough 
pressman. 

The  first  step  toward  overlaying  is  to  take  a  clean  and  well-defined 
impression  of  the  engraving  upon  a  sheet  of  paper  that  is  moderately  sized 
and  calendered,  but  not  too  hard.  Upon  this  impression  he  builds  or 
pastes  “ overlays ”  of  exadt  cuttings— made  from  other  impressions  on  other 
papers  of  various  thicknesses — of  the  dark  parts,  the  middle  tones,  tints, 
and  whatever  requires  stronger  relief  than  the  ordinary  flat  impression 
would  produce.  The  precise  lines  of  the  objedt  to  be  overlaid  must  be 
carefully  followed  in  making  these  cuttings,  and  a  small,  keen-bladed 
knife  alone  should  be  used.  Delicate  outlines  requiring  but  little  impres¬ 
sion,  when  they  appear  too  strong,  are  to  be  cut  out  or  “reduced”  one, 
two,  or  more  thicknesses  of  the  tympaning. 

After  the  various  important  parts  of  a  cut  are  overlaid  according  to 
the  relative  degrees  of  strength  and  blending  desired,  it  sometimes  becomes 
necessary  to  scrape  or  rub  down  the  edges  of  overlays,  so  as  to  prevent 
the  marks  that  might  otherwise  be  made  from  the  edges  being  too  abrupt. 

—  258  — 


) 


The  Press  Room. 


When  the  overlaying,  reducing,  and  scraping  processes  are  completed 
on  the  detached  sheet,  it  must  be  fixed  with  great  precision  over  another 
impression  of  the  cut  taken  upon  one  of  the  under  tympan -sheets  of  the 
press.  After  careful  examination  to  see  that  no  overlays  have  been  doubled 
over  or  displaced,  have  two  or  more  outer  tympan-sheets  over  all,  and 
get  an  impression  to  ascertain  if  the  proper  effect  is  produced;  and,  if  not, 
add  to  or  reduce  the  overlaying  until  it  is  correct.  This  will  require  good 
judgment,  and  some  idea  of  the  proper  amount  of  light  and  shade  due  to 
the  subjecft.  Sometimes  a  cutting  of  fine  tissue  paper  will  be  sufficient 
to  produce  a  clear,  smooth  effiedt  where  it  is  lacking;  and  in  portions 
where  the  subjedt  appears  too  heavy  or  harsh,  the  removal  of  a  very  little 
overlaying  will  often  make  it  right. 

The  minor  parts  of  an  engraving,  if  they  be  well  cut,  require  but  little 
attention  after  the  main  features  are  thoroughly  attended  to. 

While  we  would  advocate  complete  overlaying  in  every  case  of  anv 
importance,  we  cannot  gainsay  the  fadt  that  even  partial  overlaying — say 
that  of  the  dark  effedts  of  a  picture— is  better  than  none  at  all;  and  almost 
every  cut  that  is  sent  to  press  can  be  improved  by  even  a  little  attention 
to  this  particular. 

Another  method  of  preparation  to  print  cuts  is  to  use  three-,  four-,  and 
even  five-ply  photograph-mount  card-board,  and  to  cut  away  the  lights 
and  fainter  tints  of  a  picture,  allowing  the  stronger  portion  of  it  to  stand, 
or,  in  other  words,  reversing  the  operation  of  overlaying  or  building  up. 
This  is  principally  employed  for  newspaper  illustrations  and  large  cuts, 
upon  which  long  runs  of  presswork  are  to  be  made.  The  photograph- 
card  will  last  longer  than  paper  overlaying,  but  we  do  not  think  it  pro¬ 
duces  so  delicate  an  effedt. 

Overlays  require  more  or  less  attention  during  the  printing  of  a  form 
of  cuts,  and  sometimes  need  to  be  repaired  or  renewed. 

We  illustrate  the  difference  between  overlaying  and  not  overlaying  in 
the  two  cuts  on  the  next  page,  which  are  otherwise  precisely  alike. 

There  will  also  be  found  in  various  parts  of  this  volume  several  leaves 
containing  specimens  of  overlaid  cuts,  which  have  been  numbered  from 
i  to  ii,  and  exhibit  different  styles  of  treatment.  These  cuts  were  not 
made  expressly  for  this  purpose,  but  were  seledted  from  ordinary  stocks. 
Most  of  them  have  been  previously  used  for  other  purposes,  and  are  good 
examples  of  such  as  may  be  ordinarily  met  with  in  illustrated  books. 

Wood-cuts  must  never  be  washed  with  lye.  Benzine  or  camphene 
only  should  be  used. 

TO  MAKE  PASTE-POINTS. 

Neat  and  useful  paste-points  for  small  jobs  may  be  made  by  taking  a 
piece  of  No.  i  brass  rule,  and,  after  cutting  it  in  the  shape  of  a  triangle  of 
any  convenient  size,  filing  a  neat  point  at  one  of  the  angles  about  a  quarter 
of  an  inch  long,  and  bending  it  at  a  right  angle  with  the  broad  part.  Paste 
tough  manilla  paper  around  and  on  both  sides  of  the  flat  part  or  plate,  and 
trim.  When  dry,  paste  on  the  tympan  as  required. 

—  239  — 


TREATMENT  OF  NEW  WOOD  TYPE. 

Large  wood-letters  when  quite  new  should  be  soaked  in  a  mixture  of 
turpentine  and  thin  boiled  linseed  oil  over  night,  and  taken  out  of  the  bath 
in  the  morning  and  wiped  clean.  Let  them  stand  awhile  to  absorb  what 
oil,  etc.  majr  not  have  been  removed  by  wiping,  then  ink  them  well.  After 
they  stand  a  few  hours,  wash  them  with  benzine.  This  will  also  apply  to 
wood  tint-blocks,  or  any  other  large  wood  surface  to  be  printed  from. 

HOW  TO  DOCTOR  A  ROLLER. 

The  following  method  of  recuperating  a  hard  and  unworkable  roller 
has  been  found  to  answer  admirably: — After  washing  the  roller  carefully 
with  lye,  cover  the  surface  with  a  thin  layer  of  molasses,  and  lay  it  aside 
till  the  next  morning.  Then  wash  it  with  water,  and  let  it  hang  till  dry 
enough  for  using. 


■C(Ef<ER/M.  jSuqiJ<Egq  j\lAN,AQEMEf<T. 

X 


carcely  any  other  branch  of  skilled  industry,  involving  as 
much  capital  and  intelligence  for  its  proper  prosecution  as  the 
general  printing  business,  has  such  contradictory  and  widely 
varying  charges  for  its  products.  Proprietors  of  offices  and 
those  who  have  them  in  charge,  having,  in  a  majority  of  cases,  adopted 
no  standard  whereby  to  estimate  labor,  consumption  of  material,  wear, 
waste,  and  other  necessary  expenses,  seem  to  transact  their  affairs  in  this 
particular  by  a  system  of  guesswork,  or  some  other  hap-hazard  principle, 
which  has  caused  the  idea  to  exist  in  the  minds  of  many  persons  who 
employ  printers  frequently,  that  the  profits  of  the  craft  are  so  exorbitant 
that  the  smallest  sum  a  piece  of  work  can  be  had  for,  (often  without  regard 
to  quality  it  is  true),  is  ample  remuneration  for  the  amount  of  work  done. 

The  foolish,  not  to  say  reckless,  greed  of  incompetent  parties,  who  will 
have  business  at  any  price  or  risk,  is  mainly  accountable  for  the  inadequate 
prices  that  rule  for  many  kinds  of  printing;  while  those  who  can  do  better 
things,  but  have  placed  themselves  in  competition  with  the  suicidal  disposi¬ 
tion  to  underbid, — so  rife  among  certain  wretched  printers, — have  the  satis¬ 
faction,  if  such  it  is,  of  knowing  they  will  be  the  real  sufferers,  ad  finem. 

That  many  persons  engaged  in  printing  are  fairly  intentioned,  but 
culpably  ignorant  concerning  the  true  value  of  their  own  work, — laboring- 
on  industriously  for  years  with  little  or  no  advance  in  their  worldly  cir¬ 
cumstances, — is  literally  true.  Undecisive  of  character,  although  possibly 
capable  as  workmen,  they  underrate  themselves,  and  constantly  yield  to 
the  representations  of  interested  parties,  who  make  it  their  business  to  ^et 
the  most  labor  for  the  least  money,  and  who  have,  by  a  practice  of  “getting 
bids,”  made  printing  almost  a  beggarly  vocation  in  many  quarters;  besides 
which,  the  too  ready  disposition  to  reduce  the  prices  of  work,  etc.  below, 
rather  than  increase  them  up  to,  a  fair  valuation,  seems  to  become,  as  time 
progresses,  more  and  more  the  rule  among  printers  themselves. 

In  this  connection  we  deem  that  we  are  doing  a  real  service  to  our 
fellow-craftsmen  in  pointing  out  a  work  that  will  serve  them  as  a  valuable 
and  practical  guide  in  making  estimates  and  obtaining  a  full  understanding 
of  many  items  that  every  manager  and  clerk  should  be  familiar  with.  We 
allude  to  Mr.  Theo.  L.  De  Vinne’s  new  edition  of  “  7 he  Printers'  Price 
List;  a  Manual  for  Clerks  and  Book-keepers  in  Job  Printing  Offices." 
It  is  a  work  of  much  research  and  labor,  and  is  published  by  Francis 
Hart  &  Co.,  General  Printers,  No.  63  Cortlandt  Street,  New  York. 

Many  of  the  evils  that  attend  the  prosecution  of  type-  and  press-work 
arise  from  the  want  of  a  good  system  of  apprenticeship,  now  almost  totally 
ignored  throughout  our  country.  A  lad  or  young  man  of  any  age  is 
permitted  to  enter  an  office  in  some  capacity,  uncontrolled  by  any  legal 
(Ee)  —241  — 


V 1  ’ 


!kg/tXt/nx3X^cy&-:,Kj\?-v;>^9nX3>^-.Q^-x>/?gAw^xi7?x 

General  Business  M  ana  gem  ent . 


regulation  bearing  upon  the  generally  verbal  agreement  made  between 
the  parties.  After  serving  what  he  deems  a  sufficient  time  in  his  case,  or 
until  he  feels  disposed  to  quit,  whether  capable  as  a  workman  or  not,  the 
youth  starts  forth,  joins  a  “Union,”  and,  presto!  he  must  rank,  so  far  as 
wages  are  concerned  at  least,  with  the  really  good  workman  who  has 
served  a  full  and  faithful  term  of  iridentured.  apprenticeship,  during  which 
he  has  become  excellent  and  expert  in  his  calling. 

Again:  chance  or  opportunity  may  place  the  inferior  printer  in  charge 
or  possession  of  an  office  of  greater  or  lesser  resources,  where,  knowing  his 
incapacity  to  compete  squarely  with  his  betters,  his  resource  is  to  compel 
patronage  by  doing  miserable  work  for  undiscriminating  customers  at 
the  poorest  prices,  and  thereby  often  causing  his  abler  competitor  to  take 
less  than  what  he  knows  is  just  compensation  for  his  work,  or  leave  his 
facilities  unemployed. 

The  following  rules  for  business  management  have  been  found  correCt, 
both  from  observation  and  practice,  and  we  cannot  urge  them  too  strongly 
upon  the  attention  of  every  one  who  conducts  a  printing  concern  with 
something  more  than  a  mere  pittance  in  view: 

Do  not  go  beyond  your  capital  in  purchasing  material,  and  never  pur¬ 
chase  what  is  not  likely  to  be  of  immediate  use,  no  matter  how  cheap  it  is. 

Avoid  buying  odds  and  ends  of  second-hand  printing  material  about 
which  you  know  little  or  nothing. 

Insist  upon  order,  and  the  careful  usage  of  the  implements,  etc.,  whether 
the  office  is  your  own  or  otherwise. 

Have  regular  hours  for  opening  and  closing  business,  and  require  all 
your  workmen  to  observe  them. 

Preserve  a  carefully  considered,  just,  and  fixed  system  for  estimating 
work  according  to  its  quality,  keeping  in  view  the  probable  consumption 
and  waste  of  all  material,  wear  and  tear  of  implements,  superintendence, 
and  other  expenses,  no  matter  how  trivial  thej'  may  seem;  for  the  least 
cost  can  be  computed  by  an  average  per  centage. 

Having  determined  what  amount  of  money  a  piece  of  work  is  really 
worth,  including  a  positive  and  not  suppositious  profit,  make  that  the 
price,  and  do  not  deviate  from  it. 

Be  courteous  and  willing  to  accommodate  all  reasonable  demands,  but 
be  decisive  in  your  transactions.  A  host  of  errors  results  from  a  vascil- 
lating  disposition. 

Be  prompt,  making  no  promises  that  you  may  not  reasonably  expeCt 
to  fulfil;  and  fill  your  orders  according  to  your  promises.  In  hurried 
times  do  not  put  aside  one  customer  because  a  later  one  is  urgent,  unless 
the  first  one  has  allowed  ample  time  wherein  you  may  accommodate  the 
last  one  also;  for,  though  you  may  have  gained  a  new  patron  by  the 
measure,  you  will  be  apt  to  lose  the  former  one  if  he  be  disappointed  by 
not  getting  his  work  when  promised. 

When  customers  want  good  work  done  at  less  than  it  is  fairly  worth, 
reason  with  them  calmly;  and,  if  they  will  not  be  convinced,  but  make 

—  242  — 


assertions  in  regard  to  the  prices  charged  by  others  that  seem  unreason¬ 
able,  or  seem  disposed  to  go  elsewhere,  do  not  go  into  a  tirade  against 
your  competitors.  Neither  would  we  have  you  yield,  knowing  you  are 
adopting  a  wrong;  but  simply  declare  you  cannot  do  business  at  such  rates 
and  realize  a  fair  profit. 

Have  a  clear  understanding  with  a  patron  before  what  he  desires  is 
done,  what  the  price  for  it  will  be, — approximately,  but  large  enough,  if 
it  cannot  be  determined  at  once, — so  that  there  will  be  no  disagreeable 
compromise  to  make  after  the  work  is  rendered  and  to  be  settled  for. 

Lost  valuable  time  occasioned  by  the  customer,  such  as  extra  work, 
alterations,  etc.,  should  be  charged.  Too  little  regard  for  these  items 
causes  sad  leaks  in  the  profits  of  an  office.  A  price  is  given,  based  upon 
the  ordinary  contingencies  of  a  piece  of  work;  but  the  party  for  whom  it 
is  to  be  done  proves  capricious,  and  demands  frequent  changes,  proofs, 
etc.,  although  the  first  piece  of  work  may  be  performed  neatly  and  well. 
It  is  but  just,  then,  that  he  should  pay  for  it.  Where  no  guide  is  given  or 
any  style  indicated,  or  where  there  has  been  no  previous  understanding 
concerning  such  waste  of  time,  its  cost  should  be  stated  immediately  before 
it  is  made,  so  as  to  make  it  optional  with  the  patron  to  have  it  done  or  not. 

Careful  estimates,  cast-ups,  and  the  like,  requiring  time  and  experience 
to  make,  should  be  charged  for,  unless  the  work  is  guaranteed  to  the  office, 
in  which  case  it  should  go  with  the  estimate  for  general  superintendence. 

The  cash  system  should  be  closely  adhered  to,  and  strangers,  without 
any  exception,  on  account  of  appearance  or  address,  required  to  pay  in 
advance,  or  to  leave  a  sufficient  deposit  to  prevent  absolute  loss. 

Workpeople  should  be  paid  in  full  every  pay-day;  but  it  would  be  well 
to  have  an  understanding  with  them  concerning  the  time  they  are  to  give 
an  employe!',  and  the  employer  them,  notice  of  separation  for  any  cause. 
As  an  earnest,  on  the  part  of  the  accepted  workman,  it  should  be  made 
a  part  of  the  business  contract  that  he  leave  in  his  employer’s  hands  a 
certain  sum  weekly  to  be  forfeited  in  case  of  his  non-compliance  with  the 
agreement.  An  equivalent,  whereby  to  bind  the  employer,  might  also 
be  made  by  a  written  agreement  or  stipulation  properly  witnessed.  This 
would  prevent  the  sudden  departures  and  discharges  that  usually  occur  in 
the  most  improper  seasons. 

While  it  is  always  right  to  be  amiable  and  pleasant  with  those  who 
patronize  an  establishment,  their  familiarity  with  workmen  during  working 
hours  should  not  be  permitted;  and  informing  them  of  matters  in  hand 
not  necessarj'  for  them  to  know,  had  better  be  left  unsaid.  Loungers 
should  be  repelled  by  the  simple  information,  politely  but  pointedly  told, 
that  your  affairs  require  your  personal  attention,  and  that  it  retards  the 
workmen  to  converse  with  them.  This  will  generally  suffice  without 
giving  offence. 

Do  not  suppose,  if  orders  are  plenty  and  customers  easily  managed 
during  busy  seasons,  that  dull  times  will  not  come  and  patrons  be  exacting 
or  hard  to  please.  It  is  during  business  lulls  that  many  are  tempted  to 
work  below  what  they  can  afford  to  do,  and  to  yield  advantages  that  are 
pretty  sure  to  remain  advantages  to  the  customer  in  future  transactions. 


General  Business  M  ana  gem  ent . 


Never  retain  an  unprofitable  workman  unless  you  can  afford  the  ex¬ 
pense,  or  it  is  done  out  of  charity.  One  who  receives  more  than  he  yields 
becomes  a  burden,  and  should  not  be  needlessly  encouraged. 

Have  no  more  workmen  than  your  materials  and  implements  will  keep 
comfortably  employed  without  waste  of  time.  It  is  often  a  false  idea  that 
the  more  people  there  are  about  a  concern,  the  more  business  is  being  done. 

In  the  type  department,  it  should  be  the  rule  to  distribute  forms  as  fast 
as  they  are  released  from  the  press,  unless  there  is  a  prospeCt  of  their  being 
used  again  within  a  reasonable  length  of  time.  But,  unless  there  is  an 
arrangement  made  with  a  customer  to  keep  type  standing  for  him,  its 
being  kept  in  form  should  be  solely  for  the  benefit  of  the  office. 

Make  it  incumbent  upon  compositors  to  send  forms  to  press  thoroughly 
justified,  revised,  and  leveled,  leaving  nothing  for  the  pressman  to  do  but 
make  it  read}'  on  the  press  and  print  it.  Also  insist  upon  the  forms  being 
returned  from  the  pressroom  as  soon  as  they  are  off,  thoroughly  washed 
and  free  from  attachments  that  are  no  longer  useful,  such  as  underlays,  etc. 

Do  not  be  lured  into  purchasing  everything  new  that  emanates  from 
the  foundries.  Obtain  what  you  really  need  ■when  you  need  it,  and  then 
seleCt  what  you  deem  the  most  appropriate  and  best  for  your  purpose. 
Much  of  the  embarrassment  that  occurs  among  employing  printers  comes 
from  the  disposition  to  increase  their  stock  of  types,  etc.  with  the  latest 
productions,  whether  their  incomes  warrant  it  or  not.  It  will  require  a 
pretty  considerable  business  and  large  profits  to  permit  the  purchase  of 
the  temptations  that  our  friends  the  type-founders  spread  before  our  eyes 
so  constantly.  But,  we  repeat,  beware  of  indulging  in  novelties  too  often. 

If  your  business  is  good,  do  not  be  niggardly  with  such  supplies  as 
hasten  forward  your  transactions.  Let  there  be  enough  sticks,  chases, 
leads,  slugs,  metal  furniture,  small  tools,  etc.,  to  permit  workmen  to  keep 
at  work  and  not  wait  upon  each  other.  But  this  does  not  imply  that 
unnecessary  quantities  should  be  got  merely,  for  transient  convenience. 
As  fast  as  an  article  of  general  supply  is  released,  it  should  be  placed  in  a 
position  for  immediate  use  again,  and  not  have  to  be  searched  for  when 
needed. 

Avoid  practising  or  encouraging  the  prevalent  disposition  among 
customers  to  have,  and  workmen  to  do,  what  may  be  termed  useless 
composition — that  is,  having  several  justifications  of  as  many  styles  of 
letters  in  one  line,  when  one,  or  at  most  two,  kinds  of  letters  would  look 
neater  and  better,  and  require  less  expenditure  of  time  and  labor.  Elab¬ 
orate  border  and  flourish  work,  and  curving  type  lines  and  rules  into  a  bad 
imitation  of  engraving,  may  be  ranked  with  this  kind  of  composition, 
which,  unless  it  is  amply  paid  for,  becomes  a  nuisance  and  a  positive  bar 
to  the  profitable  prosecution  of  a  job.  At  the  same  time  we  advocate  the 
most  elegant  and  artistic  effeCts  that  can  be  produced,  if  it  is  paid  for. 
Otherwise  adhere  to  the  rules  of  “  neatness  and  dispatch,”  permitting 
nothing  to  be  done  that  is  not  well  done;  but,  at  the  same  time,  let  it  be 
done  without  unnecessary  waste  of  time;  for  in  nothing  is  the  faCt  that 
“time  is  money”  more  pronounced  than  in  the  printing  business. 


—  244  — 


Technical  Terms  used  by  Printers. 


Technical  Terms 


Alley — The  space  between  two  stands. 

Ascending  letters — Letters  that  extend  into 
the  upper  shoulder:  as  b,  d,  1,  etc.,  and  all 
the  capitals. 

Author's  proof—  The  clean  proof  sent  to  an 
author  after  the  compositor’s  errors  have 
been  corrected. 


Banque—A  table  about  four  feet  high,  to  lay 
sheets  on  at  press. 

Bastard  title — A  short  title  preceding  the 
general  title  of  a  work. 


Bastard  type — Type  with  a  face  larger  or 
smaller  than  its  appropriate  body,  as  Non¬ 
pareil  on  Minion  nody,  or  Minion  on  Non¬ 
pareil  body. 


used  by  Printers: 


Cassie  paper — Formerly,  the  two  outside 
quires  of  a  ream,  consisting  of  defective 
sneets. 

Casting  off—  Estimating  how  many  pages  a 
certain  quantity  of  copy  will  make  in  type. 

Ceriphs— The  fine  lines  and  cross-strokes  at 
the  end  of  a  letter. 

Chapel — A  printing-office. 

Chase — A  rectangular  iron  frame  in  which 
pages  of  type  are  imposed. 

Clean  proof— A.  proof  containing  few  faults. 

Clearing  away— Properly  disposing  of  ma¬ 
terials  after  a  work  has  been  completed. 

Close  matter — Solid  matter  with  few  break¬ 
lines. 


Batter — Types  accidentally  injured  in  a  form. 

Beard  of  a  letter — The  outer  angles  support¬ 
ing  the  face  of  a  type  and  extending  to  the 
shoulder. 

Bearer — A  strip  of  reglet  to  bear  off  the  im¬ 
pression  from  a  blank  page.  A  long  piece 
of  furniture,  type-high,  used  in  working 
jobs.  A  solid-faced  type  interspersed  over 
the  blank  parts  of  a  page,  in  composing 
for  stereotyping,  to  resist  the  force  of  the 
knife  when  the  plates  are  shaved. 

Bearer-lines — The  top  line  and  bottom  line 
in  a  page  prepared  for  stereotyping. 

Bed — The  flat  part  of  the  press  on  which  the 
form  is  laid. 

Bevels — Slugs  cast  nearly  type-high,  with 
a  bevelled  edge,  used  by  stereotypers  to 
form  the  flange  on  the  side  of  the  plates. 

Bite— An  irregular  white  spot  on  the  edge 
or  corner  of  a  printed  page,  caused  by  the 
frisket  not  being  sufficiently  cut  out.  ' 

Blanket — A  woolen  cloth  used  in  the  tym- 
pan. 

Blank-line— A  line  of  quadrates. 

Blocks — The  mahogany  frames  on  which 
stereotype  plates  are  affixed  for  printing. 

Bodkin— A  delicate  awl-like  tool  used  for 
correcting  errors  in  type. 

Body— The  shank  of  the  letter. 

Botch— An  incompetent  workman. 

Bottle-arsed — Type  wider  at  the  bottom  than 
at  the  top. 

Boxes — The  compartments  of  a  case  in  which 
the  types  are  placed. 

Brayer — A  wooden  or  glass  rubber,  fiat  at 
the  bottom,  used  to  bray  or  spread  out  ink 
on  the  ink-block. 

Break-line — A  short  line. 

Broadside— A  form  of  one  page,  printed  on 
one  side  of  a  whole  sheet  of  paper. 

Broken  matter— Pages  of  type  disrupted  and 
somewhat  intermingled. 


Companionship — All  the  hands  on  a  work. 

Composing — Setting  type. 

Composing-rule — A  steel  or  brass  rule,  with 
a  beak  at  one  end,  used  in  type-setting. 

Composing-stick — An  instrument  in  which 
types  are  arranged  in  words  and  lines. 

Correct — A  compositor  is  said  to  eorrectwheu 
he  amends  the  faults  marked  in  a  proof. 

Corrections — The  alterations  or  errors  which 
are  marked  in  a  proof. 

Cut-in  letter — A  type  of  large  size  adjusted 
at  the  beginning  of  a  line  at  the  commence¬ 
ment  of  chapters. 

Cut-in  note — A  note  justified  into  the  side  of 
a  page. 

Dead  horse — Matter  charged  before  it  is  set. 

Dele,  [S] — A  proof-reader’s  mark,  signifying 
to  take  out. 

Devil — The  errand-boy  of  a  printing-office. 

Dished — A  defect  in  electrotyped  plates,  the 
centre  of  a  letter  being  lower  than  its  edges. 

Distributing — Returningtype  to  their  various 
boxes  after  having  been  printed  from. 
Spreading  ink  evenly  over  the  surface  of 
a  roller. 

Doublet — Among  compositors,  a  repetition  of 
words ;  among  pressmen,  a  sheet  that  is 
twice  pulled  and  mackled. 

Dressing  a  chase  or  form — Fitting  the  pages 
and  chase  with  furniture  and  quoins. 

Drive  out — To  space  widely. 

Duck’s-bill — A  tongue  cut  in  a  piece  of  stout 
aper  and  pasted  on  the  tympan  at  the 
ottom  of  the  tympan-sheet,  to  support 
the  paper  when  laid  on  the  tympan. 

Dudoecimo,  orVimo — Twelve  pages  to  a  form 

Em — The  square  of  the  body  of  a  type. 

En — Half  the  dimensions  of  the  preceding. 

Even  page — The  2d,  4th,  Cth,  or  any  even- 
numbered  page  of  a  book. 

Fat — Poetry  and  leaded  matter. 


Bundle — Two  reams  of  paper. 

Bur — Rough  edge  of  a  type  which  the  foun¬ 
der  neglected  to  take  off  in  dressing. 

Caret — A  character  [A]  used  to  denote  the 
place  where  an  omission  in  the  proof 
should  be  inserted. 

Case — The  receptacle  for  type,  divided  into 
numerous  compartments'. 


Face  of  a  letter  or  form — The  part  that  is 
printed  from. 

Fat  face,  or  Fat  letter — Broad -stemmed  let¬ 
ter. 

First  form— The  form  first  printed,  which 
generally  contains  the  first  page  of  a  sheet. 

Fly — The  person  or  apparatus  that  takes  off 
the  sheets  from  the  press. 


(Ee*) 


—  245  • 


Technical  T e  r  m  s 


Folio — Two  pages  to  a  form. 

Foot-sticks — Sloping  pieces  of  furniture 
placed  at  the  bottom  of  pages,  between 
which  and  the  chase  the  quoins  are  driven 
to  fasten  the  pages. 

Form — The  pages  when  imposed  in  a  chase. 

Foul  proof—  A  proof  with  many  faults  marked 
in  it. 

Fount— An  assortment  of  type  in  definite 
proportions. 

Friar— A  light  patch  in  a  printed  sheet,  caused 
by  defective  rolling. 

Frisket — An  iron  frame  fastened  by  a  hinge 
to  the  upper  part  of  the  tympan,  to  hold 
the  sheet  of  paper  fast  as  it  goes  in  and 
comes  from  the  press. 

Fudge—  To  contrive  without  proper  mate¬ 
rials. 

Full  press—  When  two  men  work  at  the  press 
with  hand-rollers. 

Furniture — Strips  of  wood  or  metal  placed 
around  aud  between  pages  when  imposed. 

Galley — A  wooden  or  brass  flat  oblong  tray, 
with  side  and  head  ledges,  for  holding  type 
when  composed. 

Galley-slaves— An  ancient  term  of  derision 
applied  by  pressmen  to  compositors. 

Gauge — A  strip  of  reglet  with  a  notch  in  it, 
passed  with  the  make-up,  to  denote  the 
length  of  the  pages. 

Get  in — To  set  close. 

Good  color — Sheets  printed  neither  too  black 
nor  too  light. 

Guide — A  piece  of  metal  frequently  used  to  1 
denote  the  last  line  set. 

Gutter-sticks — Furniture  used  in  imposition  ] 
to  separate  the  pages. 

Half  press — When  but  one  person  works  at 
the  press. 

Half-title— The  title  of  a  book  inserted  in  the  | 
upper  portion  of  the  first  page,  of  matter. 

Heacl-sticks — Furniture  put  at  the  head  of 
pages  in  imposition,  to  make  margin. 

Hell — The  receptacle  for  broken  or  battered 
letters :  the  old-metal  box ;  the  shoe. 

High-line — Term  applied  to  a  type  that 
ranges  above  the  rest  in  a  line. 

High  (or  low )  to  paper — Applied  to  a  type 
east  higher  or  lower  than  the  rest  of  the 
fount. 

Horse — The  stage  on  the  banque  on  which 
pressmen  set  the  heap  of  paper. 

Horsing — Charging  for  work  before  it  is  ex¬ 
ecuted. 

Imposing — Arranging  and  locking  up  a  form 
of  type  in  a  chase. 

Imposing-stone — The  stone  on  which  com¬ 
positors  impose  and  correct  forms. 

Imprint—  The  name  of  the  printer  or  of  the 
publisher  appended  to  .jobs  or  title-pages. 

Inferior  letters — Small  letters  cast  near  the 
bottom  of  the  line. 

Inset — Same  as  offcut. 

Jeff— To  throw  for  a  choice  with  quadrates 
instead  of  dice. 

Justifying — Spacing  out  lines  accurately. 

Keep  in — To  crowd  in  by  thin  spacing. 

Keep  out — To  drive  out  or  expand  matter  by 
wide  spacing. 


u  s  c  d  by  Printers. 


Kerned  letter — Type  of  which  a  part  of  the 
face  hangs  over  the  body. 

Laying  cases— Filling  cases  with  a  fount  of 
new  type. 

Laying  pages — Placing  pages  on  the  stone 
in  a  proper  order  for  imposition. 

Leaders — Dots  or  hyphens  placed  at  inter¬ 
vals,  one,  two,  or  three  eras  in  length,  to 
guide  the  eye  across  the  line  to  the  folio 
in  tables  of  contents,  etc. 

Leads — Thin  strips  of  metal  east  of  various 
thicknesses,  quadrate-high,  to  separate 
lines  of  type. 

Lean — Close  and  solid  matter. 

Lean  face — Light,  thin  type. 

Letter  hangs — When  the  page  is  out  of 
square. 

Letter-press  printing — Printing  from  types. 

Ligatures — Two  or  more  letters  east  on  the 
same  shank,  as  ff,  fl,  fi,  ffl,  ffi,  se,  oe. 

Locking  up — Tightening  up  a  form  by  means 
of  quoins. 

Logotypes— The  same  as  ligatures. 

Long  cross — The  bar  that  divides  a  chase  the 
longest  way. 

Long  pull — When  the  bar  is  brought  close  to 
the  cheek  of  a  press. 

Low  case — When  the  compositor  has  set  al¬ 
most  all  the  letters  out  of  his-case. 

Lower  case — The  case  containing  the  small 
letters  of  the  alphabet,  figures,  points,  etc. 

Low  line — Applied  to  a  type  that  ranges  lower 
than  the  rest  in  a  line. 

Mackle — When  part  of  the  impression  ap¬ 
pears  double. 

Make-up — To  arrange  the  lines  of  matter 
into  pages. 

Making  margin — In  imposition,  arranging 
the  space  between  the  pages  of  a  form  so 
that  the  margin  will  be  properly  propor¬ 
tioned. 

Making  ready — Preparing  a  form  on  the 
press  for  printing. 

Mallet — A  wooden  hammer. 

Matter — Composed  type. 

Measure — The  width  of  a  page. 

Monk — A  black  spot  in  a  printed  sheet,  owing 
to  the  ink  not  being  properly  distributed. 

Naked  form — A  form  without  furniture. 

Nicks — Hollows  cast  in  the  front  of  the  lower 
part  of  the  shank  of  a  type,  to  show  the 
compositor  how  to  place  it  in  his  stick. 

Octavo,  or  8 vo — Eight  pages  to  a  form. 

Odd  page  or  folio— The  1st,  3d,  and  all  un- 
even-numbered  pages. 

Off—  Signifies  that  the  pressman  has  worked 
off  the  form. 

Offcut— A  portion  of  a  sheet  that  is  cut  off 
before  folding. 

Off  its  feet — When  matter  does  not  stand  up- 

'  right. 

Open  matter — Matter  widely  leaded  or  con¬ 
taining  numerous  break-lines. 

Out— An  omission  marked  in  a  proof  by  the 
reader. 

Out  of  register — When  the  pages  do  not  back 
each  other. 

Overlays — Cuttings  of  paper  pasted  on  the 
tympan-sheet  to  bring  up  the  impression. 


—  246  — 


- I 


Technical  Terms  used  by  P  r  i  n  t  e  r  s  . 


Overrunning — Carrying  words  backward  or 
forward  in  correcting. 

Page-cord — Twine  used  for  tying  up  pages. 

Passing  the  make-up— Passing  to  the  next 
hand  in  order  the  lines  remaining  ( if  any) 
after  a  compositor  has  made  up  his  mat¬ 
ter,  together  with  the  guage  and  proper 
folio. 

Peel — A  broad,  thin  board  with  a  long  handle. 

Perfecting — Printing  the  second  form  of  a 
sheet. 

Pi — Type  promiscuously  intermingled. 

Pick — A  particle  of  ink  or  paper  imbedded 
in  the  hollow  of  a  letter,  filling  up  its  face 
and  occasioning  a  spot. 

Pigs — An  ancient  nickname  given  in  derision 
by  compositors  to  pressmen.  The  press¬ 
room  was  called  a  pig-sty. 

Planer—  A  smooth  block  of  wood  used  for 
levelling  the  surface  of  pages  of  type  when 
imposed. 

Planing  down — To  bring  down  types  evenly 
on  their  feet,  by  laying  a  planer  on  the 
page  and  striking  it  firmly  with  a  mallet. 

Platen — The  part  of  a  printing-press  which, 
under  the  influence  of  the  lever,  gives  the 
impression  to  a  sheet. 

Point-holes — Fine  holes  made  by  the  points 
to  register  the  second  impression  by. 

Points — Two  thin  pieces  of  steel  with  a  point 
at  one  end,  adjusted  to  the  tympan  with 
screws,  to  make  register. 

Quadrate — A  low  square  blank  type,  used  to 
indent  the  first  line  of  a  paragraph,  and  to 
fill  up  blank  spaces. 

Quarters — Octavos  and  twelves  are  said  to 
be  imposed  in  quarters,  not  from  their 
equal  divisions,  but  because  they  are  im¬ 
posed  and  locked  up  in  four  parts. 

Quarto,  or  4 to — Four  pages  to  a  form. 

Quire — Twenty-four  sheets  of  paper. 

Quoins — Small  wedges  for  locking  up  a  form. 

Quotation  furniture — Quotations  cast  of 
various  sizes  in  length  and  width,  to  be 
used  for  blanking  and  as  furniture. 

Quotations — Large  hollow  quadrates. 

Rack — Receptacle  for  cases. 

Ratting— Working  at  less  than  the  estab¬ 
lished  prices. 

Ream — Twenty  quires  of  paper. 

Recto — Right-hand  page. 

References — Letters  or  characters  serving  to 
direct  the  reader’s  attention  to  notes  at 
the  foot  of  a  page. 

Register — To  cause  the  pages  in  a  sheet  to 
print  precisely  back  to  back. 

Register  sheet — The  sheet  used  to  make  re¬ 
gister. 

Reglet — Thin  furniture,  of  an  equal  thickness 
all  its  length.  It  is  made  to  the  thickness 
of  type. 

Reiteration— The  form  printed  on  the  second 
side. 

Revise — The  last  proof  of  a  form  before  work¬ 
ing  it  off. 

Riding — One  color  falling  on  another.  Type 
at  the  end  of  a  line  catching  against  a  lead. 

Rise — A  form  is  said  to  rise  when,  in  raising 
it  from  the  correeting-stone,  no  letters 
drop  out. 


Roller — An  iron  or  wooden  “core  ”  or  cylin¬ 
der  covered  with  composition,  which,  set 
in  an  iron  frame,  revolves  and  is  used  for 
inking  type. 

Rounce — The  handle  for  running  in  and  out 
the  carriage  of  a  hand-press. 

Round  pick — A  dot  in  a  letter  in  a  stereotype 
plate  caused  by  an  air-bubble. 

Running  title — The  title  of  the  book  or  sub¬ 
ject  placed  at  the  top  of  the  pages. 

Runs  on  sorts — Requiring  an  inordinate  pro¬ 
portion  of  particular  letters. 

Saw-block — A  box  similar  to  a  carpenter's 
mitre-block,  to  guide  in  cutting  furniture, 
etc. 

Schedule — A  list  passed  with  the  make-up, 
containing  folios  on  which  the  compositor 
marks  his  name  opposite  to  the  pages  set 
by  him. 

Set  off—  When  sheets  that  are  newly  worked 
off  soil  those  that  come  in  contact  with 
them,  they  are  said  to  set  off. 

Shank — The  square  metal  upon  which  the 
face  of  a  letter  stands. 

Sheep's-foot — An  iron  hammer  with  a  claw- 
end. 

Shooting-stick — A  wedge-shaped  instrument 
for  locking  up  a  form. 

Short  cross— The  short  bar  which,  crossing 
the  long  bar,  divides  the  chase  into  quar¬ 
ters. 

Shoulder — The  upper  surface  of  the  shank 
of  a  type  not  covered  by  the  letter. 

Side-sorts — Types  in  the  side  and  upper 
boxes  of  a  case,  consisting  of  letters  not 
frequently  used. 

Side-sticks — Sloping  furniture  on  the  outside 
of  the  pages  next  to  the  chase,  where  the 
quoins  are  inserted. 

Signature — A  letter  of  the  alphabet  ora  figure 
used  at  the  bottom  of  the  first  page  of  a 
sheet,  as  a  direction  for  the  binder  in 
placing  the  sheets  in  a  volume. 

Slice  galley — A  galley  with  an  upper  false 
bottom,  called  a  slice,  used  for  large  pages 
and  jobs. 

Slug— A  thick  lead. 

Slur — A  blurred  impression  in  a  printed 
sheet. 

Solid  pick— A  letter  in  a  stereotype  plate 
filled  up  with  metal,  resulting  from  an  im¬ 
perfect  mould. 

Sorts — The  letters  in  the  several  case-boxes 
are  separately  called  sorts,  in  printers’  and 
founders’  language. 

Space-rules — Fine  lines,  cast  type-high,  and 
of  even  ems  in  length,  for  table  and  alge¬ 
braical  work. 

Spaces — Low  blank  types  used  to  separate 
words. 

Squabble — A  page  or  form  is  squabbled  when 
the  letters  are  twisted  out  of  a  square  po¬ 
sition. 

Stand— The  frame  on  which  the  cases  are 
placed. 

Stem — The  straight  flat  strokes  of  a  straight 
letter. 

Stereotype  printing— Printing  from  plates. 

Stet — Written  opposite  to  a  word,  to  signify 
that  the  word  erroneously  struck  out  in  a 
proof  shall  remain. 


Technical  Terms  used  by  Printers . 


Sub- — A  compositor  occasionally  employed 
on  a  daily  paper,  to  fill  the  place  of  an  ab¬ 
sentee. 

Superior  letters— Letters  of  a  small  face,  cast 
by  the  founder  near  the  top  of  the  line. 

Table-  work— Matter  consisting  partly  of  rules 
and  figures. 

Take ,  or  Taking— A  given  portion  of  copy. 

Token — Two  hundred  and  fifty  sheets. 

Turn  for  a  letter — When  a  sort  runs  short,  a 
letter  of  the  same  thickness  is  substituted, 
placed  bottom  upward. 

Tympan— A  frame  covered  with  parchment 
"and  attached  to  the  press-bed,  to  lay  the 
sheet  on  before  printing. 


Underlay— A  piece  of  paper  or  card  placed 
under  types  or  cuts  to  improve  the  impres¬ 
sion. 

Upper  case— The  case  containing  capital  and 
small  capital  letters,  fractions,  etc. 

Verso—  Left-hand  page. 

Way -goose— A  term  given  in  England  to  the 
annual  dinner  customary  among  printers 
there  during  the  summer  months. 

White  line—k  line  of  quadrates. 

White  page — A  blank  page. 

White  paper— Until  the  second  side  of  a 
sheet  is  printed,  pressmen  call  the  heap 
white  paper. 

Working  in  pocket— When  the  hands  share 
equally  their  earnings  on  a  work. 


n  closing  this  volume,  we  desire  to  tender  our  thanks  to  the  following  named  gentlemen  for 
valuable  business  assistance  received  from  them  during  the  progress  of  our  enterprise,  as  well 
as  for  many  adts  of  kindness  and  courtesy  that  have  rendered  our  task  lighter  than  it  would 
otherwise  have  been  : 


Messrs.  Allison,  Smith  &  Johnson,  Type  Founders  and  Printers’  Furnishers,  proprietors  of 
the  Franklin  Type  Foundry,  Cincinnati,  for  many  favors. 

Cincinnati  Type  Foundry  Co.,  through  its  Business  Managers,  Messrs.  Chas.  Wells, 
Treasurer,  H.  Barth,  and  W.  P.  Hunt,  Cincinnati,  for  many  favors. 

Messrs.  Chatfield  &  Woods;  Stone  &  Stewart;  and  Snider  &  McCall;  Dealers  in 
Printers'  Stock,  Cincinnati,  for  most  substantial  favors. 

Messrs.  R.  P.  Thompson,  Printer  and  Superintendent ;  C.  S.  Whitson,  Printer  and  Foreman  ; 
Jas.  A.  Cassady,  Assistant  Foreman  of  the  Bindery;  J.  M.  See,  Foreman  of  the  Eledlrotype 
Room;  John  H.  Armstrong,  Manager  of  the  Press  Department;  and  Charles  Taulman, 
Pressman,  of  the  Western  Methodist  Book  Concern,  for  many  facilities  and  accommodations. 

Mr.  Luther  M.  Harpel,  Printer,  Telegrapher,  and  Book-keeper,  Cincinnati.  At  present 
engaged  with  us  as  an  assistant.  * 

Messrs.  David  Cohen  and  Mort.  A.  Read,  Printers  and  Foremen  in  our  own  establishment, 
— the  first  named  in  the  press  room,  and  the  latter  in  the  composing  room, — for  much  patient 
extra  manipulation.  Also,  Mr.  Jno.  E.  Raisbeck  and  Matt.  Eberhardt  of  our  compositors. 

Mr.  John  Wolff,  Principal  Wareroom  Clerk  of  Franklin  Type  Foundry,  and  Mr.  Robert 
R.  Reid,  his  assistant,  for  numerous  attentions. 

Mr.  C.  H.  Fairbanks,  Printer  and  Foreman,  (at  present  engaged  on  the  Specimen  Book  of 
Franklin  Type  Foundry),  Cincinnati. 

Mr.  William  Gockel,  Brass  Rule  Maker  and  Fitter  at  Franklin  Type  Foundry,  Cincinnati, 
for  much  intricate  mitring,  etc. 

Mr.  John  Watson,  Foreman  Composing  Room  at  Franklin  Type  Foundry,  Cincinnati. 

Messrs.  Wilson,  Hinkle  &  Co.,  Educational  Publishers  and  Stationers,  Cincinnati. 

Mr.  Cornelius  Braam,  the  efficient  Wareroom  Clerk  of  Cincinnati  Type  Foundry  Co., 
Cincinnati. 

Mr.  George  Barnard,  Printer,  with  Cincinnati  Type  Foundry  Co.,  Cincinnati. 

Messrs.  McKay  &  Cullin,  Eledtrotypers  and  Stereotypers,  Cincinnati,  for  much  troublesome 
and  tedious  work  in  their  line. 

Mr.  Granville  Pollock,  Foreman  of  Plate  Finishing  Room  at  Franklin  Type  Foundry, 
Cincinnati,  for  many  attentions. 

Mr.  B.  B.  Chamberlin,  Designer  and  Engraver  on  Wood,  Cincinnati.  The  excellent  work 
of  this  gentleman  occurs  in  numerous  places  in  our  book. 

Messrs.  Stillman  &  Adams,  and  Bogart  &  Stillman,  Designers  and  Engravers,  Cincinnati. 

Mr.  James  Pummill,  Printer,  Author,  and  Editor,  Cincinnati. 

—  24S  —  * 


C  losing  Notes. 


Mr.  O.  F.  Carnahan,  Printer  and  Foreman  Job  Department  Cincinnati  Daily  Times. 

Mr.  C.  W.  Starbuck,  Proprietor  Cincinnati  Daily  Times,  for  privilege  of  using  cuts,  etc. 

Mr.  John  Rowell,  Bookbinder  and  Ruler,  for  special  personal  care  in  binding  the  book. 

Mr.  Thomas  MacKellar,  Author,  Editor,  Printer,  and  Type  Founder,  (of  the  firm  of  Mac- 
Kellar,  Smiths  &  Jordan,  proprietors  of  the  Johnson  Type  Foundry,  Philad’a),  Germantown,  Pa. 

Mr.  R.  S.  Menamin,  Editor,  Publisher,  and  Dealer  in  Printing  Materials,  Philadelphia. 

Mr.  Jerry  S.  Thompson,  Printer  and  Superintendent  Republican  Job  Printing  Co.,  Chicago. 

Mr.  Edward  Du  Laurens,  Travelling  Agent  for  J.  K.  Wright  &  Co.,  Philadelphia,  whose 
fine  colored  inks  have  been  used  almost  entirely  throughout  the  work. 

Mr.  Thomas  Rowley,  Typographic  Designer  and  Printer,  (of  the  firm  of  Rowley  &  Chew), 
Philadelphia. 

Mr.  Chas.  Eneu  Johnson,  Manufacturer  of  Fine  Printing  Inks,  Philadelphia. 

Mr.  Theo.  L.  De  Vinne,  Author  and  Printer,  (of  the  firm  of  Francis  Hart  &  Co.,  New  York), 
Jersey  City,  N.  J.,  for  many  valuable  favors. 

R.  Hoe  &  Co.,  the  celebrated  Printing  Press  Machine  and  Saw  Manufacturers,  New  York 
City,  for  cuts. 

Mr.  Henry  Johnson,  President  Jones  Manufacturing  Company,  manufacturers  of  the  Globe 
Printing  Presses,  Palmyra,  N.  Y. 

Mr.  Geo.  C.  Ripley,  Secretary  Home  Life  Insurance  Company,  New  York,  for  the  beautiful 
cuts  on  page  240. 

The  Boston  Type  Foundry,  through  its  well-known  Business  Agent,  Mr.  James  A.  St.  John. 

Mr.  Wm.  Cubery,  Printer,  (of the  firm  of  Cubery  &  Co.),  San  Francisco,  Cal. 

The  black  ink  used  throughout  the  work  is  from  the  manufactories  of  J.  K.  Wright  &  Co.; 
Gray’s  Ferry  Printing  Ink  Works  ;  and  Charles  Eneu  Johnson  &  Co.,  Philadelphia  ;  and 
George  Mather’s  Sons,  New  York.  The  average  price  paid  for  it  was  about  $2.50  per  pound. 

The  presswork,  under  the  superintendence  of  Mr.  David  Cohen,  was  done  mainly  on  the 
new  “  Globe”  half-medium,  although  other  bed-and-platen  treadle-presses  were  used.  476,000 
impressions  were  required  to  complete  less  than  three  thousand  copies  of  the  book. 

The  excellent  eleCtrotyping  of  the  Franklin  Type  Foundry,  under  the  personal  care  of  Mr 
Alexander  Campbell,  and  of  Messrs.  McKay  &  Cullin,  Cincinnati,  has  been  frequently 
brought  into  requisition  for  various  small  parts  of  the  work;  and  we  are  pleased  to  say  that  our 
city  produces  this  kind  of  work  equal,  if  not  superior,  to  any  done  in  the  country. 

Messrs.  Smith  &  Porter,  General  Printers,  Boston,  also  have  our  thanks  for  plates  of 
tessellated  borders,  worked  in  colors. 

Messrs.  Copper  &  Fry,  the  well-known  Stamp  Cutters  of  Philadelphia,  executed  the  stamp 
seen  on  the  “  Typograph.” 

It  will  be  noted  that  we  have  avoided  using  in  these  pages  the  most  expensive  colored  printing 
inks,  such  as  exceeding  fine  carmines,  purples,  violets,  greens,  etc.  This  has  been  intentional  on 
our  part,  as  we  have  desired  to  present  work  that  may  be  done  with  the  medium  grades  of  colored 
inks,  such  as  are  most  generally  used,  and  do  not  involve  extravagant  outlay.  Neither  have 
we  exhibited  the  extremes  that  may  be  reached  in  typographic  display.  It  may  be  mentioned 
incidentally,  however,  that  we  had  made  arrangements  with  Mons.  Charles  Derriey,  the 
celebrated  engraver,  founder,  and  printer  of  Paris,  France,  and  several  other  superior  letterpress 
printers  in  Europe,  to  have  pages  of  their  workmanship  in  the  “  Typograph.”  The  impending 
war  now  in  progress  between  F ranee  and  Prussia  has  prevented  the  fulfilment  of  this  understand¬ 
ing,  and  we  have  been  consequently  left  to  do  what  we  could  ourselves,  except  in  a  few  obvious 
instances,  or  delay  the  work  indefinitely. 


fi^TParties  desiring  electrotyped  duplicates  of  any  of  the  Designs,  Borders,  or 
Engravings  shown  in  this  volume,  will  be  furnished  with  them  at  reasonable 
prices. 

it®"* Collections  of  Samples  from  our  current  work  may  be  had  in  lots  costing 
from  $1.00  to  $5.00. 


—  249  — 


Index. 


PAGES. 


FRONTISPIECE: — Heraldic  Arms  of  the  German  Printers,  .  .  .  facing  title. 


PREFATORY  REMARKS:— 


Why  it  is  comparatively  easy  for  the  printer  to  attain  to  excellence  in  his 
craft — He  must  be  prepared  to  meet  popular  demands— Tasteful  skill  con¬ 
trasted  with  incapability — The  need  of  a  more  practical  hand-book — The 
intention  of  this  publication — Captions,  p.  3.  Explanations  of  various 
matters — Expense  of  the  work — Acknowledgements — Hopes  for  the  future, 
p.  4. 

INFOLDED  PLATE: — Example  of  German  Wood  Engraving,  (No.  1),  showing 

overlaying  of  cross-hatched  shades,  .  . . "  facing  4 

HINTS  ABOUT  STARTING  AN  OFFICE:—  .  5-12 

Assumptions  of  beginners,  p.  5.  Advisory  hints,  pp.  6-6.  Implements 
proper  to  have,  embracing  remarks  about  Furniture,  Stands,  Racks,  Cab¬ 
inets,  Drawers,  Cases,  etc.,  p.  7.  Concerning  Carpentry,  Types,  Borders, 
Ornaments,  Novelties,  etc.,  p.  8.  Uniformity  of  type  bodies — Labeling 
cases — Attention  to  variation  in  nicks  of  letters — Labor-saving  Rules  and 
Leaders— Leads  and  Slugs — Metal  Furniture  and  Quotations— Economy 
in  Case  Room— Imposing  Stones  and  Construction  of  Frames,  p.  9.  Com¬ 
posing  Sticks — Mitreing  Machine — Wood  and  Mechanical  Quoins — Iron 
Side  and  Foot  Sticks,  p.  10.  Wood  Furniture — Metal  Furniture — Shooting 
Sticks — Mallets — Planers — Choosing  Presses  and  other  Machinery — Roller 
Closet — Ley  Brushes,  p.  11.  Ink  Table — Ink  Stones — Muller — Ley  Pots — 

Baskets  or'Bins  for  waste  paper — Order  and  convenience  in  arranging  an 
office,  etc.,  p.  12. 

INSET: — Example  of  English  Magazine  Engraving,  (No.  2),  showing  effect  of 

difficult  overlaying  for  blended  shades  and  interior  tints,  .  .  .  facing  21 

ON  LETTERPRESS  COMPOSITION :— . 13-40 

Popular  ideas  concerning  the  relative  merits  of  Composition  and  Press- 
work — Matters  to  be  regretted — The  tendencies  that  degrade  and  cheapen 
printing — First  things  to  learn,  p.  13.  How  to  lay  a  case  with  new  letter — 

Casting  off  copy,  pp.  14— IB.  Copy  that  should  be  estimated  by  time — Vari- 
ous  items  concerning  Typographic  Design,  pp.  16-17.  Setting  a  Stick  to 
measure — Position  of  the  Compositor  at  case,  etc.,  pp.  18-19.  Spacing  and 
Justification,  pp.  19-20.  Indentions,  p.  20.  Emptying  a  Stick — Notes  re¬ 
lating  to  Display  Composition,  pp.  21-26.  Book  Composition,  pp.  2G-28. 

Proving  and  Correcting  matter,  p.  28.  Proof  Readers’  Marks,  and  explana¬ 
tion  thereof,  pp.  29-3L  Distribution — Imposing  and  Locking  up  Forms, 
etc.,  p.  32.  Rules  for  Imposing  Pages,  with  explanations,  diagrams,  etc., 
pp.  33-40. 

INSET: — Cuts  (Nos.  3  and  4)  showing  effect  produced  by  properly  overlaying 

light  or  sketchy  engravings, . .  !  facing  22 

INSET  : — Scenic  Illustrations  (Nos.  5  and  6)  showing  effect  in  overlaying  rocks, 

foliage,  etc., . facing  26 

INSET  : — Wood  Cuts  (Nos.  7  and  8)  showing  effect  of  strong  lights  and  shades,  facing  38 

THE  PRESS  ROOM :— . 41-48 ;  233-240 

Necessary  auxiliaries  to  do  good  work — Machinery  and  the  care  of  it,  p.  41. 

Rollers  and  their  treatment,  pp.  41—42.  Roller  Making,  with  Recipes  and 
other  directions,  pp.  42-45.  Items  concerning  Printing  Inks,  pp.  45-46. 

Making  Forms  Ready  for  Press — Tympans — Working  solid  Borders  and 
Tints  on  small  Presses,  pp.  46-47.  Shaded  Printing  with  Colors  and  Bronze 
— Forms  for  Colors,  pp.  48,  233.  Valuable  Recipes,  pp.  233-234.  How  to 
prevent  Offsetting — Printing  on  Parchment— Printing  with  Bronze,  Smalts, 

Flock,  and  Dry  Colors— Maintaining  Uniformity  of  Color,  p.  234.  Use  of 
Colored  Inks,  with  copious  remarks  on  the  Harmony  of  Colors,  etc.,  as 
applied  to  the  Printer’s  Art,  pp.  235-237.  Overlaying  Cuts,  pp.  238-239.  To 
make  Paste-points — Treatment  of  new  Wood  Type — How  to  Doctor  a  Roller 
— Examples  of  Overlaying  and  not  Overlaying,  p.  240. 

INSET: — (4  pages)  Containing  Complete  Table  of  Signatures,  Cuts  of  Stands, 

Cabinets,  Cases,  Mechanical  Quoin,  Stick,  arrangement  of  American  Upper 


and  Lower  Cases, 


facing  48 


INSET: — Engravings  (Nos.  9  and  10)  showing  how  one  of  them  may  be  in  the 
entirely  black  silhouette  style,  and  yet  be  worked  along  with  a  finely  lined 
cut  of  landscape,  without  impairing  the  delicate  effects  of  the  latter,  .  facing  42 


—  250  — 


PAGES, 

GENERAL  BUSINESS  MANAGEMENT:- .  241-241 

Widely  varying  prices  charged  for  Printing — Want  of  system  among  Pro¬ 
prietors  ana  Managers — Views  held  by  many  Customers — The  influence  of 
incompetent  Printers— Who  are  the  real  sufferers  from  ^underbidding  in 
the  end — Foolish  and  ignorant  persons  with  good  intentions — Why  they  do 
not  better  their  circumstances — “  The  Printers’  Price  List,”  p.  241.  Want  of 
a  good  system  of  apprenticeship  the  source  of  many  evils  amofl|t  Printers — 

How  good  Printers  are  often  compelled  to  work  below  remunerative  prices 
— Practical  Rules  for  Managing  Business  advantageously,  pp.  241-244. 

INSET : — Domestic  Scene  (No.  11)  showing  overlaying  of  peculiar  shades,  etc.,  facing  228 


LIST  OF  TECHNICAL  TERMS  USED  BY  PRINTERS:-  ....  245-248 

CLOSING  NOTES:— Friends  and  Assistants  of  the  work .  248-249 

INDEX .  250-252 


INDEX  TO  SPECIMENS. 


ADVERTISEMENTS,  Newspaper .  pp.  155,  219 

BADGES, . p.  191,  inset  between  224  and  225 

BILLS  LADING, . pp.  119,  137,  211 

BLANKS,  Bankers’ . pp.  105,  216,  inset  between  168  and  169 

Magistrates’ . pp.  94,  95 

Manufacturers’ . p.  127 


Small  .  . p.  196 

BOND,  . Inset  between  pp.  152  and  153 


BOOK  PAGES: — Poetry,  pp.  97,  154,  201;  Illustrated  Catalogue,  p.  113;  Contents,  p.  158; 

Literary,  pp.  159,  193;  Calendars,  pp.  181,  184;  Arithmetic,  pp.  202,  203, 
207;  Algebra,  p.  205;  Reader,  p.  206;  Astronomy,  p.  208;  Children’s 
Magazine,  p.  209;  Chinese,  p.  210;  Music,  pp.  213,  220,  221. 

CALENDARS, . p.  224,  inset  between  168  and  169 

CARDS,  Display  p.  186 ;  inset  between  96  and  97 ;  inset  between  160  and  161 ;  inset  between 
168  and  169;  inset  between  180  and  181. 

Engraved . pp.  104,  175,  226 

Insurance  pp.  50,  61,  66,  105,  110,  114,  115,  123,  132,  134,  146,  147,  150,  155,  156,  157 
171,  178,  179,  189,  198. 


Invitation . p.  133 

Manufacturers’  .  pp.  59,  71,  72,  95,  121,  122,  138,  143,  166,  186,  198,  217,  123 
Mercantile  pp.  50,  55,  59,  72,  75,  79,  98,  101,  106,  111,  128,  130,  138,  143,  147,  166,  167 
172,  173,  175,  176. 

Miscellaneous  .  .  .  pp.  59,  63,  76,  82,  83,  133,  147,  157, 161,  176,  183,  188 

Mourning . p.  175 

New  Year  Call . pp.  76,  156 

Photograph  Mount  . p.  75 

Professional  . pp.  72,  107,  110,  121,  157,  176,  183,  217 

Saloon . pp.  66,  110 

Tradesmen’s  pp.  53,  89,  98,  104,  105,  106,  114,  117,  121,  134,  138,  156,  157,  175,  176 
198,  199. 


Visiting . 

Wedding  and  Reception  . 
CHECKS,  Bank  .... 

CIRCULARS,  Insurance 

Lodge  .... 
Manufacturers’ 
Mercantile 
Miscellaneous 
Tradesmen’s 
Wedding  and  Reception 
COVER  PAGES,  Pamphlet 
DESIGNS,  Ornamental 
DIPLOMA,  in  miniature 

display  line  for 

DODGERS,  or  small  hand-bills, 

DRAFT, . 

ENDS,  Check  and  Receipt 


pp.  50,  75,  80,  107,  110,  175 

. pp.  80,  84,  107 

p.  67,  inset  between  168  and  169 

pp.  49,  54,  56,  79,  142,  144,  146,  194,  197,  198 

. pp.  125,  212 

. pp  174,  199 

pp.  74,  101,  123,  129,  164 

. p.  200 

.  pp.  52,  77,  177,  187,  199 

. pp.  116,  139 

.  .  .  pp.  68,  69,  77,  117,  162,  182 

pp.  124,  185,  186,  191,  192,  217,  223 

.  .  .  inset  between  184  and  185 

. P-  57 

. pp.  62,  87,  96 

. p.  216 

.  pp.  83,  93 


— 


I  ti  d  e  x  . 


ENVELOPE  CARDS,  BACKS,  ETC . pp.  73,  85,  180,  222 

FUNERAL  NOTICE, . p.  165 

HEADINGS,  Bill  and  Statement  pp.  00,  01,  02,  100,  112,  136,  150,  151,  152,  155,  ICO,  170, 

inset  between  108  and  169. 

Letter  and  Note  .  pp.  53,  04,  00, 120,  122,  123,  140,  141, 152,  185,  188,  214 

INVITATION,  Ball . p.  145 

LABEL,  Direction .  p.  196 

Miscellaneous  pp.  59,  66,  71,  73,  75,  81,  82,  83,  85,  88,  102,  103,  105,  110,  115,  135 

155,  157,  108,  160,  170,  183,  108,  inset  between  108  and  169. 

Wine  and  Liquor . pp.  57,  130,  132,  133,  170 

LAW  BRIEF,  page  of . p.  86 

NOTE,  Promissory  . p.  131 

NOTICES,  ETC.,  Insurance  .  pp.  63,  65,  81,  93,  99,  131,  180,  inset  between  222  and  223 

PASS,  Railroad  . p.  57 

PERIODICAL,  Insurance . Inset  between  pp.  184  and  185 

PRICE  LISTS . pp.  102,  103,  128,  129 

PROGRAMMES,  Ball . pp.  148,  149 

Entertainment . ,  pp.  58,  70,  215 

RECEIPT,  Dray  .............  p.  115 

Mercantile . pp.  81, 141,  150 

Shippers’ . pp.  119,  211 

TABS,  Dry  Goods  p.  195 

TAGS,  Clothing . . pp.  57,  83 

Shipping . pp.  172,  173 

TICKETS,  Entertainment,  etc.  pp.  61,  63,  70,  71,  93,  104,  106,  107,  131,  134,  143,  148,  149 

157,  169,  189,  191,  223. 

TITLE  PAGES,  .  back  of  title  to  Specimens,  pp.  78,  108,  109,  118,  153,  160,  163,  190,  204 

WINE  LIST,  (4  colors) . p.  218 

WRAPPER,  .  p.  64 

Druggists’ . p.  126 

ADVERTISERS'  ADDENDA. 


CINCINNATI  TYPE  FOUNDRY  COMPANY7,  Cincinnati. 

FRANKLIN  TYPE  FOUNDRY7,  Allison,  Smith  &  Johnson,  Proprietors,  Cincinnati. 
GRAY’S  FERRY  PRINTING  INK  WORKS,  Philadelphia. 

HAGAR  &  CO.,  Type  Founders,  New  York. 

J.  K.  WRIGHT  &  CO.,  Manufacturers  of  Printing  Inks,  Philadelphia. 

JONES  MANUFACTURING  COMPANY7,  Manufacturers  of  the  “  Globe  ”  Printing  Presses, 
Palmyra,  N.  Y. 

McKAY  &  CULLIN,  Electrotypers  and  Stereotypers,  Cincinnati. 

N.  C.  HAWKS’S  IRON  BRACKET  COMPOSING  STANDS,  Milwaukee,  Wis. 

ROBERT  S.  MENAMIN,  Publisher  “Printers’  Circular,”  and  Printers’  Furnisher,  Phila. 
THE  NOVELTY  JOB  PRINTING  PRESS.  Bent.  O.  YVoods,  Boston,  Mass. 

VAN  BIBBER  &  CO.,  Manufacturers  of  Rollers  and  Roller  Composition,  Cincinnati. 
WILLY  WALLACH,  Importer  and  Denier  in  Fine  Cards,  Programmes,  etc.,  New  York. 


A 


xijhtttci|lmri,  Jfaust,  Srfjixffn;, 


At  the  Massachusetts  Charitable  Mechanic  Association  Exhibition,  held  in  Boston,  in  September,  1869,  the  '*  CLOBE  " 
received  a  Cold  Medal,  the  highest  award  ever  made  for  a  Job  Printing  Press. 

O - - O 


REPORT  OF  JUDGES; 

“•The  Committee  pronounce  the  Globe  Jtpb  Printing  Press  to  be  the  best  Job  Press  yet  offered  for  sale. 
It  has  several  new  principles  which  other  presses^ of  the  kind  do  not  have;  among  which  is  the  ‘Throw-Off,’ 
an  advantage  which  is  almost  indispensable,  and  will  be  readily  appreciated  by  alL  printer  .  It  possesses  a 
new  mode  of  giving  the  impression  by  which  a  *  Dwell’  is  obtained  when  the  form  has  touched  the  sheet, 
thereby  securing  a  more  perfect  impression  than  can  possibly  be  obtained  by  the  old  method  by  crank  move¬ 
ment.  The  Detention  of  the  Rollers  on  the  Cylinder  at  the  will  of  the  operator,  without  stopping 
the  machinery,  thereby  giving  extra  facilities  for  distribution  of  the  ink,  is  a  new  feature  in  job  Presses,  the 
want  of  which  has  been  felt  by  pressmen  for  years,  but  never  until  now  has  this  great  desideratum  been  ac¬ 
complished.  There  are  other  points,  of  more  or  less  importance,  which  render  this  a  most  desirable  press, 
and,  in  the  opinion  of  the  Committee,  the  most  perfect  yet  presented  to  the  notice  of  printers.  We  therefore 
recommend  the  award  of  a  Gold  Medal.” 

N.  B.  SHUR TLEFF,  Mavor  of  Boston, 

A.  K.  P.  WELCH,  of  Welch,  Bigelow  Sc  Co.  ( 

ORRIN  F.  FRYE,  of  Rnrnl,  Averv  &  Frve^s 
CH  XRI.F.s  I )  1'  \NK. 


Judges. 


All  of  these  Presses  will  be  thoroughly  tested,  strongly  boxed,  and  delivered  to  the  order  of  the  purchaser, 
at  our  manufactory.  Palmyra,  N.  Y.  at  the  following  Net  Cash  Prices : 

HALF  MEDIUM,  13  x  19%  inches  inside  of  chase, 

QUARTO  MEDIUM,  lO  x  IS  “  “  “  . 

EIGHTH  MEDIUM,  8  x  12  “  “  “  . 


..  $550 
425 
250 


Fountain,  $25.  Steam  Fixtures,  $15.  Boxing,  $6  to  $10  extra. 
1  Roller  Mould,  2  sets  of  Roller  Stocks,  and  3  Chases,  are  included  with  each  Press. 


This  page  was  worked  on  a  Half  Medium  Globe  Press. 


MANUFACTURES  TYPE  IN  GREAT  VARIETY, 


And  its  Complete  and  Extensive 


Also  produce  all  the  IRON  and  WOODEN  APPURTENANCES 
of  the  business,  including 


We  are  also  the  Agents  for  the  sale  of  Type  and  Presses  from  all  other 
manufacturers  in  the  country,  and  fill  orders  promptly 
from  any  Specimen  Book  ; 


NO  OTHER  House  in  the  Union  CAN  fit  out  a  complete  Office  with 
Types,  Presses,  Stands,  and  Cases,  entirely  with  goods 
of  their  own  production, 

COUSEQUEUTLY 

This  is  the  place  to  fit  out  a  Printing  Office.  Send  for  Specimens 
and  Estimates  to 


C.  WELLS,  Treas. 

No.  201  Vine  Street,  Cincinnati,  Ohio, 


THIS  PAGE  WAS  WORKED  ON 


HALF  MEDIUM  NOI 


iREIL  PRESS. 


BORDER  BY  B.  B.  CHAMBERLIN,  CINCINNATI. 


Printing  Inks, 


mm 


ESTABLISHED  1858, 


^INTERS’ 


Ml  ^ 


m 

jize,  famines,  joiled  |il,  etc. 

Fairmount  Printing  Ink  Works, 

PHILADELPHIA. 


HE  reputation  of  our  Inks  is  now  so  well  established  throughout 
the  United  States  and  elsewhere,  for  their  brilliancy,  ease  of  work¬ 
ing,  cheapness,  and  general  superiority,  that  an  extended  notice 
of  them  here  is  not  necessary.  We  deem  it  sufficient,  therefore,  to  state  that 
no  pains  will  be  spared  in  the  future  as  in  the  past,  to  maintain  the  highest 
degree  of  excellence  in  our  products  and  to  give  the  fullest  satisfaction  to 
our  many  patrons.  8®”  The  Ink  used  on  this  page  is  our  own  make. 


< 

>] 

u- 

>i 

A 

A 

A 

A 

I  V  w 
0,  i\,  VV 

righ 

It  &>  Go, 

T  ZEE  IE 


♦ 


Work  in  all  parts  of  the  world, 
sizes  of  Presses  are  furnished  ns  follows: 


Is  the  only  Low  Priced  Press  ever  invented  that  will  do 

GtOOD  WORK. 

It  is  so  simple  in  its  construction,  and  so  admirable  in  its  details, 
that  a  novice  in  the  art  of  printing  can  readily  understand  its  prin¬ 
ciples  and  the  manner  in  which  it  is  worked.  *  The  finest  printing  is 
done  upon  it  at  a  speed  equaling  the  highest-cost  presses,  and  it  is 
so  durable  in  construction  that  it  will  long  outwear  them  and  cost 
nothing  for  repairs.  It  excels  all  other  presses  in  Simplicity, 
Durability,  Compactness,  Availability,  Convenience,  Efficiency, 
Speed,  and  Economy.  The  proprietor  claims  that  printing  can  be 
done  as  well  and  as  rapidly  on  this  Press  as  on  the  best  that  print¬ 
ers  use  ;  and  for  printing  offices  where  artificial  power  is  not  used,  or 
for  business  men,  apothecaries,  grocers,  country  traders,  and  others 
who  desire  to  do  their  own  printing,  it  is  entirely  without  a  rival. 

It  is  most  admirably  adapted  to  the  use  of  Sabbath-schools, 
Colleges,  and  other  institutions  for  instruction,  and  for  Missionary 
Also  unsurpassed  as  a  Village  Newspaper  and  Job  Press.  Three 


Duodecimo,  prints  4  by  6  inches,  price,  $15 

Octavo,  “  ii  “  lO  “  "  30 

Quarto,  “  O  “  14  “ .  *•  50 

Send  for  full  descriptive  illustrated  circulars,  with  testimonials  from  all  parts  of  the  country,  and 
specimens  of  plain  and  color  printing  done  on  the  Press,  and  specimen  sheets  of  types,  borders,  cuts, 
rules,  etc.  to 

Benjamin  O.  Woo  DS,  Manufacturer, 

Dealer  in  every  description  of  Printing  Materials,  No.  351  Federal  Street,  Boston,  Mass. 

Or  to  the  following  Agents:  C.  C.  THURSTON,  No.  10  College  Place,  N.  Y.;  KELLY,  HOWELL  &  LUDWIG, 
017  Market  St.,  Philadelphia,  Pa.:  A.  C.  KELLOGG,  G5  West  Van  Boren  St.  Chicago,  Ill. 


❖ 


Chew,  Artistic  Printers,  H  and  16  S,  Seventh  St., 


h:^wk:s7s 


jlllKlf  |0RPBIia«  pus, 


? 


1; 


Prices :  Single  Stand,  $8 ;  Double,  $12.  Boxing  and  Shipping,  $3  per  dozen. 

HIS  is  an  improved  form  of  Printers’  Composing  Stand,  and  is  composed  wholly  of  iron. 
It  is  intended  to  take  the  place  of  the  old  wooden  “  rack  stand.” 

The  advantages  of  the  Iron  Stand  will  be  easily  understood  from  the  cuts.  In  the  first  place, 
there  are  no  slides;  the  inventor  claiming  that  a  stand  should  be  a  stand,  and  not  a  cabinet.  The 
depositing  of  cases  of  type  under  the  compositor’s  stand  was  a  source  of  evil,  rather  than  a  convenience,  from 
the  start.  Every  printer  knows  that  if  a  case  which  is  under  a  stand,  is  wanted,  he  must  go  there  and  set 
his  line;  and  if  a  brother  typo  is  at  work  at  that  stand,  one  or  the  other  is  obliged  to  give  way.  To  the 
compositor  who  is  using  the  Roman  case  it  is  a  great  annoyance,  and  to  the  employer  it  is  a  loss  of  time. 
Where  the  bulk  of  type  is  in  racks,  this  occurs  frequently.  It  has  been  estimated  that  one  man’s  time  out 
often  is  wholly  lost  to  the  employer  in  this  setting  of  lines  from  cases  among  printers’  legs. 

Those  cases  are  always  dusty  and  dirty,  for  they  catch  everything.  They  are  an  abomination  to  a  stand, 
because  they  are  always  raking  a  compositor’s  shins  and  knees,  or  else  obliging  him  to  stand  in  a  stooping 
posture.  The  cabinet  is  unquestionably  the  proper  place  for  italic  and  job  type. 

The  Bracket  form  of  the  Iron  Stand  will  be  readily  appreciated  by  all  printers,  and  cannot  fail  to 
call  forth  their  unqualified  approval.  It  gives  opportunity  to  stand  ereCt,  and  to  use  the  legs  freely; 
and  those  who  avail  themselves  of  the  stool  can  doubly  realize  the  comforts  of  it  in  sitting  close  up,  and 
when  a  change  is  desired  the  stool  can  be  pushed  under  the  stand  out  of  the  way. 

Its  beauty  as  an  article  of  printing  office  furniture,  would  alone  recommend  it,  if  it  possessed 
none  of  the  advantages  claimed.  An  office  furnished  with  these  stands  presents  a  very  clean,  light,  and  airy 
appearance. 

There  is  no  chance  to  store  rubbish  under  these  stands.  The  office  boy  can  sweep  clean,  without 
difficulty,  in  one-third  the  time  it  takes  to  sweep  around  the  old  ones. 

Their  durability  makes  them  a  good  investment.  There  is  no  article  in  a  printing  office  but  wears 
out ;  the  Iron  Stand  will  never  wear  out  by  any  ordinary  use. 

Some  improvements  have  been  made  in  both  single  and  double  stands,  being  principally  to  add  strength 
and  firmness.  They  are  now  thought  to  be  as  simple  and  strong  as  it  is  possible  to  make  them. 

The  manufacturer  offers  the  Iron  Bracket  Composing  Stand  to  Printers  in  confidence  that  it  will  meet 
with  a  hearty  reception,  as  AN  ARTICLE  OF  MERIT. 

m .  C  *  H  w  K  s  „ 


257  South  Water  Street,  MILWAUKEE,  Wis. 


rT  *-ry  5 


2t 


3 


IMPORTER  AND  DEALER. 


EVERY  DESCRIPTION  OF 

Cut  Cards  and  Card  Stock, 


BALL  CARDS, 

Paper  and  Cards  for  Invitations  and  Bills  of  Fare, 


mn»* ntf 

F/UCY/ljTICLES  FOIj  COTILLONS/P  THE  Ge^M/N, 

Stationers'  Soods  of  Every  Description, 


t 


ALLISON,  SMITH  #  JOHNSON, 

m®  Wlm  9tn§tg  Gtoefraaf  J, 

ATnnufn rfurers  of.  and  Dealers  Vi , 


-o  AND 


PRINTERS’  MATERIALS  OF  EVERY  DESCRIPTION. 
Complete  fflritjlinQ  (Officer;, 

Of  any  size,  furnished  on  short  notice. 

Type  furnished  from  'any  Foundry  in  the  country. 

STEREOTYPING  AND  ELECTROTYPING  IN  ALL  BRANCHES.  J 


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With  Good  Rollers  one  can  do  Good  Work  on 
°  any  press,  but  with  Poor  Rollers  good  presses  o 
and  materials  avail  nothing. 


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MANUFACTURERS  OF 


Sitj  kiniJ  of  ^Rollers  cast  to  orkcr  auk  scut  fioxct)  to  anp  part  of  tke  countrj. 
Jor  prices,  testimonials,  etc.  see  circulars. 


E.  O  L  L  E  E  i 


E  O  E  SALE 


V 


CINCINNATI  TYPE  FOUNDRY  CO. 

201  Vine  Street,  Cincinnati; 
GEORGE  H.VINTEN, 
137  Poydras  St.  New  Orleans; 


THE  REPUELIC  PRINTING  CO. 

Springfield,  Ohio; 

ROBERT  ROWELL, 


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Qp 


106  Jefferson  St.  Louisville; 


AND  DEALERS  IN  PRINTERS’  MATERIALS  GENERALLY. 


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SATISFACTION 


Particular  attention  given  to 

ELECTROTYPING 

Books,  Music,  Patent  Medicine  Labels, 
Wood  Cuts,  Advertisements,  etc. 


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Publishers,  Country  Printers,  and  Others. 

•'(prcric  have  the  resources  of  a  first-class  printing  office  by 
which  we  are  enabled  to  set  up  in  the  Latest  Styles 
of  Type,  and  Electrotype  any  kind  of  jobs,  and  forward 
them,  to  any  distance,  at  the  most  reasonable  price. 


Samples  of  our  Electrotyping  on  pages  107 
and  157  of  this  book. 


DESIGNED  BY  MORT.  A.  READ.  “THE  NEAT  PRINTER,”  CINCINNATI. 


This  page  was  worked  from  plates  eledtroty  ped  by  McKay  &  Cullin,  on  a  Half  Medium  Globe  Press. 


SUAEANTESB 


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\>KN^  ^  JAMES  (f1  (Jq 


Manufacturers  of 


FIRST-CLASS 


PRINTERS’ GLUE! 


FOR  MAKING 


Got  1 1 )  )ositi  on  Rol  1  ers 


For  Hand  or  Power  Presses. 


Manufactory,  Ludlow  Avenue,  Cumminsville, 


<P 


IP.  O.  IB  OX  525, 

Cincinnati,  Ohio. 


DIRECTIONS  FOR  MAKING  ROLLERS  WITH  OUR  GLUES; 

G1  teep  say  ten  lbs.  of  the  glue  in  rain  or  other  soft  water  until  it  becomes  mod- 
erately  pliant,  but  not  too  soft;  then  place  it  on  a  draining  board  or  in  a  coarse 
KJ  seive  until  entirely  free  of  surface  drops;  then  place  it  in  the  boiling  kettle 
and  melt  it  well  over  an  ordinarily  brisk  fire  or  by  steam.  This  will  take  about  fif¬ 
teen  to  twenty-five  minutes.  The  best  sugar-house  syrup  should  now  be  added  in 
the  proportion  of  a  quart  to  a  pound  of  glue,  for  cold  weather  rollers,  reducing  the 
quantity  of  syrup  as  the  weather  becomes  warmer.  Boil  for  about  half  an  hour 
longer,  or  less  time  if  it  shall  be  found  sufficient.  Stir  the  composition  frequently 
while  boiling,  and  skim  off  any  dross  or  impurities  that  may  rise  to  the  top. 

It  is  well  to  test  the  condition  of  the  boiling  mass  occasionally.  Do  this  by  let¬ 
ting  a  few  drops  fall  on  a  plate  or  board.  When  a  proper  combination  is  formed 
the  composition  will  be  compact,  elastic,  tough,  and  smooth,  having  no  raw  stick¬ 
iness  when  cool.  Overboiling  composition  is  apt  to  make  it  short  and  crumbling. 

Persons  who  desire  to  use  glycerin  in  connection  with  our  glue  may  do  so  by  de¬ 
ducting  half  as  much  of  the  latter  as  they  add  of  the  former.  Glycerin  should  be 
added  to  the  composition  only  a  few  minutes  previous  to  pouring  off.  Pour  slowly. 


...»  C.  0.  D.  Orders  from  a  distance  promptly  filled  at  our  lowest  rates. 


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